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The Bye Bye Man






Akira






The Girl With All The Gifts






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Set It Off

Comparison:

  • Theatrical Version
  • Director's Cut
Release: Oct 14, 2015 - Author: Il Gobbo - Translator: ManfredR - external link: IMDB
"Love makin'
heart breakin'
soul shakin'..."


With the fade away of the "New Black Cinema Wave“ (started in the early 1990s with the two smash hits "Boyz N the Hood" and "New Jack City") in 1996 this interesting action drama came to the movies, granted a considerable financial success for director F. Gary Gray and for the subsequent movie "The Negotiator" the five-fold budget. With just $9 millionen dollars production costs the quadruple of it have been the box-office results and approximately the same amount earned by the producers with the video rental.

In SET IT OFF it’s all about the four friends Stony, Cleo, Frankie and Titi. Girlfriends for decades fighting for survival and existence in South Central, LA’s showcase ghetto. No money, no job, no future. Owing to numerous different circumstances they decide to rob banks for then being able to start a new life. At the beginning everything turns out ok but then it comes to the crunch...

The script is very simple, but from the tough daily ghetto routine nothing at all is shown. No drugs (ok, a little pot, what’s the big deal), no shoot-outs in the block (unless of the Cops), no brawls, everything is under control. Especially the triggers which give the girls the idea to rob banks seem very bad constructed. But on the other hand of this construct and what finally predominates are the sympathic actors, the humorous dialogs and above all the approach to present 4 women as bank robbers. Also the investigating officer Strode is not the one-dimensional Negrophobe but wholeheartedly and in spite of his poignant sarcasm – and the less time on screen – he however presents a sophisticated face. The jokes ignite, be it the successful parody of “The Godfather” or Cleo’s quirk to clean the just stolen car of the music garbage. The economical interspersed action is very well filmed, the few shoot-outs bloody and the car chases coherent. The low budget can hardly be recognized because of the very good work of director Gray. To make it perfect there is a diversified Hip-Hop-Soundtrack but also the score has been perfectly chosen.

Now, in the middle of September 2009 the announced Director’s Cut has been released in the USA and the cover promises a "Deluxe Edition" with an "Extended"Cut. Well, this raises expectations but I’ve never been fooled like this before! The Director’s Cut definitely runs in total 1 minute longer but only by the use of 3 extended action sequences which by all means could have rested on the floor of the cutting room. From the remaining 60 differences one can note that with over 2/3 the Director’s Cut runs shorter than the theatrical version. Also in some violent scenes one must certify the Director’s Cut the less brutality. Who would have thougt this? But particularly annoying are however the minmal hardly comprehensible rerecordings, alternative takes and scene extensions or reductions (depending from which side you’re looking at) that have been made here. I recommend the willing fan to read the following cut report exactly so that you come into the benefit of the whole nonsense. The only advantages of the Director’s Cut what justifies a new purchase are the brilliant anamorphe screen and the well merged DD-5.1-Sound. Compared has been the Theatrical Version with the Director's Cut (Rated R), which has only been released in the USA until now. The cut duration is in NTSC time and has been rounded off to the full 0,5 sec. Furthermore all frames of the theatrical version have been edited for a rounded overall picture.
2:07 Min.
When Darnell shoots the female hostage both versions are minimal different cut. However the Director’s Cut runs a little longer.
( 3 sec. )
Director’s Cut:Theatrical Version:



2:10 Min.
When the dead hostage kisses the dust there are also different takes: in the theatrical version she turns herself during the fall, on the other hand in the Director’s Cut the bloody head wound is to be seen more clearly. Also the following takes are minimal different. In total the theatrical version runs about half a second longer.
Theatrical version = +( 0,5 sec. )
Director’s Cut:Theatrical Version:



2:23 Min.
The shot of the guard running for cover is a little longer in the theatrical version.
Theatrical version = +( 1 sec. )



2:29 Min.
In the Director’s Cut there is again a close-up of the cashier stuffing money into the bag.
( 2 sec. )



2:35 Min.
Darnell throws the bag with the money to Lorenz. In the theatrical version he misses it and the camera changes to the guard coming from covering. The following shooting is completely cut different in both versions whereas the theatrical version is much harder. But the Director’s Cut runs a little longer.
( 4 sec. )
Director’s Cut:Theatrical Version:



2:53 Min.
More alternative takes: Darnell and Lorenz shoot on the guard’s defilade but with no run time difference.
Director’s Cut:Theatrical Version:



3:05 Min.
When Lorenz leaves the bank there is a close-up in the Director’s Cut but in the theatrical version a long shot instead. The Director’s Cut runs minimal longer.
( 0,5 sec. )
Director’s Cut:Theatrical Version:



3:08 Min.
After he walked through the door both versions run different. Whereas only in the theatrical version has a short close-up of the guard lying on the floor and then the take of the backing off Darnell, this take is interrupted by a close-up onto the guard who pulls his weapon in the Director’s Cut. There is no noteworthy running time difference.
Director’s Cut:Theatrical Version:



4:46 Min.
The interrogation of Strode takes a little more time in the theatrical version and seems to be more brisk.
Theatrical version = +( 6,5 sec. )
Director’s Cut:Theatrical Version:



7:38 Min.
Impressions of the 70s, party talk. Alternative settings when the girlies talk about Stony’s brother. The theatrical version here again runs a little longer.
Theatrical version = +( 1 sec. )
Director’s Cut:Theatrical Version:



7:52 Min.
Stony and Cleo accost Stevie, there are different takes and the Director’s Cut now runs a little longer.
( 1 sec. )
Director’s Cut:Theatrical Version:



20:31 Min.
The four friends on the roof totally stoned. There is only in the Director’s Cut an additional take of Titi right after Cleo was fooled.
( 3 sec. )



21:33 Min.
Frankie wants to raise the bank robberies as topic. There are again different settings and the Director’s Cut runs all in all a little longer.
( 2,5 sec. )
Director’s Cut:Theatrical Version:



22:50 Min.
Stevie tells Stony that he was not accepted at university. In the theatrical version this take is minimal longer because he backs off yet.
Theatrical version = +( 1 sec. )



23:59 Min.
Again a take runs minimal longer in the theatrical version.
Theatrical version = +( 1 sec. )



24:21 Min.
Stevie is with Lorenz. On his comment why he didn’t come to the party ("your sister hates my guts") Stevie answers "No, she’s alright man" only in the theatrical version. Lorenz, right before he takes the bottle: "Hah, if you say it.” Furthermore, due to the missing talking the following knee shot has been slightly changed. The theatrical version therefore runs a little longer....
Theatrical version = +( 4 sec. )
Director’s Cut:Theatrical Version:



24:39 Min.
The counter-cut onto Lorenz’s girlfriend runs a little longer in the theatrical version besides only there is a shot of the grinning Stevie.
Theatrical version = +( 2 sec. )



25:07 Min.
Again a take runs longer in the theatrical version where Lorenz throws the shaver to his girlfriend.
Theatrical version = +( 2 sec. )



25:43 Min.
When Stevie walks down the stairs in Lorenz’s apartment this scene is longer in the theatrical version because he walks along in the darkness. The following scene of the ambushing S.W.A.T. member in return starts earlier in the Director’s Cut. In total the theatrical version runs a little longer.
Theatrical version = +( 20 SF )
Director’s Cut:Theatrical Version:



25:48 Min.
Again there is additional material in the theatrical version. The S.W.A.T.- Member stands up, his shadow on the street and again Stevie in a front view.
Theatrical version = +( 3,5 sec. )



25:53 Min.
After the close-up of Stevie’s new hair-cut there are again alternative settings whereas the theatrical version runs a little longer.
Theatrical version = +( 1 sec. )
Director’s Cut:Theatrical Version:



26:02 Min.
And so on with the alternative, partly extended frame material. And again the theatrical version runs longer.
Theatrical version = +( 4,5 sec. )
Director’s Cut:Theatrical Version:



26:18 Min.
The bottle in Stevie’s hand breaks – filmed different in both versions, whereas the theatrical version has one tiny close-up more to offer.
Director’s Cut:Theatrical Version:



26:24 Min.
Oh, this time a little more in the Director’s Cut. The knee-shot where Stevie lies on the floor with the S.W.A.T.-Team in the background starts earlier in the Director’s Cut. In the theatrical version the weapons muzzle flash is missing respectively in the Director’s Cut the cops shoot a little longer at Stevie.
( 2,5 sec. )



26:25 Min.
Afterwards the following shot of Stevie who lies bleeding on the ground starts a little earlier in the Director’s Cut, in return there is a counter cut onto Strode and his partner in the theatrical version. There is no running time difference.
Director’s Cut:Theatrical Version:



27:01 Min.
When the distraught Strode furiously throws away the bottle leftovers, in the Director’s Cut this scene fades directly onto his partner standing in the background. However in the theatrical version there is a cut and therefore the Director’s Cut runs longer at this point. Besides, only in the Director’s Cut his partner looks upset at Stevie.
( 4 sec. )
Director’s Cut:Theatrical Version:



27:07 Min.
On the other hand only the theatrical version has the take where Tanika gets overwhelmed.
Theatrical version = +( 3 sec. )



27:26 Min.
Also only the theatrical version has two additional takes of Lorenz’s apartment where the S.W.A.T.-Member sneaks to the alleyway.
Theatrical version = +( 5,5 sec. )



27:34 Min.
In the Director’s Cut Lorenz already starts shooting out of the darkness while the theatrical version fades out in a knee-shot before the muzzle flash can be seen. Instead the theatrical version has an additional close-up plus shooting with an Uzi as well as a counter cut close-up of a horrified S.W.A.T.-Member.
Director’s Cut:Theatrical Version:



27:53 Min.
After the gunfight the camera fades on to Stevie’s dead body. Subsequently the take of Strode is different in both versions besides the scene where Stony approaches her brother starts earlier in the Director’s Cut. In total the Director’s Cut runs a little longer.
( 1 sec. )
Director’s Cut:Theatrical Version:



29:29 Min.
Strode listens to the bulletin about Stevie, then a cross-fade to the next scene. Now there is a short additional sequence only in the Director’s Cut. The four girlfriends are sitting in Stony’s house, hear Stony sobbing and don’t know what to do about. Titi: "Damn. Y'all she been throwing up for two days. What we gonna do?" Cleo: "Let her get that shit out." Frankie: "Somebody gotta stay with her." Cleo nods: "I will." Stony comes out of the bathroom choking, her friends tender-hearted looking at her. Stony: "I saw Stevie's hair in the bathroom. I can't go... I can't go back in there. I don't wanna go back in the bathroom no more... I never need to." She gets settled besides Cleo who takes her in her arms. Stony: "Oh, my, I don't wanna... I don't wanna stay in here. I can't stay in here no more." Cleo tries to solace her: "Okay, okay. Stay with me!" Stony: "No." Then, with the associated move of her arm and again more sobbing: "No, I want out of here. All of it." Finally she exhausted eases down in Cleo’s arms. Now the Director’s Cut also fades on to the office building but again a little later. In total the Director’s Cut runs more than a minute longer at this point.
( 63 sec. )
Director’s Cut:Theatrical Version:



36:05 Min.
The girls practice shooting. The first take is different in both versions, the following back view starts a little later in the Director’s Cut. That’s why the theatrical version runs insignificant longer.
Theatrical version = +( 1 sec. )
Director’s Cut:Theatrical Version:



36:14 Min.
There are more additional settings of the shooting exercise. The theatrical version runs again a little longer.
Theatrical version = +( 4,5 sec. )
Director’s Cut:Theatrical Version:



36:51 Min.
The transition between two takes is extended in the Director’s Cut.
( 2 sec. )



36:53 Min.
The dialog between Cleo and Black Sam is filmed different and there are some more words in the Director’s Cut. In the theatrical version only "I’ve already stolen a bunch of cars for you", plus in the Director’s Cut "...before you got into this gun-running shit. You owe me!" Tthis time the Director’s Cut runs longer.
( 8,5 sec. )
Director’s Cut:Theatrical Version:



37:11 Min.
Another, hardly noticeable alternative material whereas in both versions also short settings have been sporadic inserted. The theatrical version runs in total a little longer.
Theatrical version = +( 3 sec. )
Director’s Cut:Theatrical Version:



43:47 Min.
Again there has been inserted a short sequence into the Director’s Cut. Before Stony leaves for her date we can see the gang watching the news on TV at their hiding-place. News anchor: "And in what may be a first for Los Angeles three women have robbed the branch at South Los Angeles Bank. Getting away with an estimated $90.000 dollars." Titi wonders: "Ninety thousand?" From above Frankie and Cleo look down answering in a chorus: "Insurance scam." Laughing, the news anchor continues: "This is the 25th bank robbery this year in Los Angeles, the bank robbery capital of the nation. And now on to national news."
( 21 sec. )



47:51 Min.
Only in the Director’s Cut Keith says"Tough Lady".
( 4 sec. )



47:54 Min.
Also only in the Director’s Cut Keith sipping at his drink before he puts the glass on the table.
( 2 sec. )



54:27 Min.
Just for a change two settings which are only available in the theatrical version.
Theatrical version = +( 3,5 sec. )



54:29 Min.
Again two tiny takes more in the theatrical version.
Theatrical version = +( 0,5 sec. )



54:30 Min.
Another counter cut on Strode.
Theatrical version = +( 0,5 sec. )



54:30 Min.
Again a counter cut on Strode plus two additional pictures of the girls in the theatrical version….
Theatrical version = +( 1 sec. )



54:33 Min.
Strode.
Theatrical version = +( 0,5 sec. )



54:35 Min.
Strode.
Theatrical version = +( 0,5 sec. )



54:36 Min.
Now there is one minimal extended take in the Director’s Cut.
( 2 sec. )



54:40 Min.
Following are two additional takes in the theatrical version.
Theatrical version = +( 4,5 sec. )



59:02 Min.
The end of the "Godfather"- parody is filmed different in both versions. In the Director’s Cut Frankie still talks in the Don-Corleone-Style, in the theatrical version she spits out the cotton batting talking normal and demanding. The Director’s Cut runs here again a little longer.
( 3 sec. )
Director’s Cut:Theatrical Version:



62:13 Min.
At the second bank robbery right before the getaway a take starts earlier in the theatrical version.
Theatrical version = +( 2 sec. )



62:23 Min.
Another one runs a little longer in the theatrical version.
Theatrical version = +( 3 sec. )



62:30 Min.
After another insert on the Cops in front of the Bank both versions continues differently. In the Director’s Cut the take of the looking up client is interrupted by an insert on Stony who alerted "Don't do it. Do not..." forces the client back to the floor. In the theatrical version this take runs continuous but a little bit shortened. Therefore the Director’s Cut runs a little longer.
( 2,5 sec. )
Director’s CutDC:Theatrical Version:



62:36 Min.
Before Cleo breaks through the glass-door with the car both versions run again different, among other things there is now the scene where Stony warns the client "Sssshht - hey, drop it.". In total the theatrical version runs longer.
Theatrical version = +( 8,5 sec. )
DC:DF / KF:



63:01 Min.
There is a teeny-weeny insert in the theatrical version where a client runs away from the car.
Theatrical version = +( 7 SF)



63:03 Min.
And another teeny-weeny insert only available in the theatrical version.
Theatrical version = +( 10 SF )



63:08 Min.
So there are a couple of settings more in the Director’s Cut when Cleo brings the car to a stop in the bank’s counter area. And only in the Director’s Cut she calls: "Hey, come on, get in."
( 4 sec. )



63:15 Min.
Gee…only in the theatrical version one of the girls grabs herself a Teddy before they leave.
Theatrical version = +( 1,5 sec. )



63:21 Min.
Also only in the theatrical version there is an additional shot before they break through the wall. Besides, the take of the poster runs a little longer.
Theatrical version = +( 1 sec. )



63:34 Min.
Only in the theatrical version: An additional knee-shot and both settings before and after run longer.
Theatrical version = +( 2,5 sec. )



63:37 Min.
Once again there is different frame material…but no running time difference.
Director’s Cut:Theatrical Version:



67:23 Min.
Only in the Director’s Cut the scene of Stony finishing the phone call continues. Cleo asks with a smile: "What phone?", her girlfriend grins.
( 6 sec. )



67:52 Min.
The scene in Keith's house runs a little longer in the Director’s Cut. After he walked upstairs Stony sighs again in the theatrical version. In the Director’s Cut there is a knock at the door and Keith calls from above: "Stony, could you get that for me?" She opens the door and frightens because two cops are standing outside. Keith comes down and says: "Yeah, can I help you?" Officer: "You know, sir, a blue Lexus was stolen from the garage this afternoon, from the space next to yours. We wondered if you saw or heard it." Keith: "No, no, I just got home myself." Officer: "Okay, thanks. Sorry to bother you." Keith: "Not a problem, not a problem." Then the Cops bid farewell and Keith turns towards the pale Stony: "Are you okay?" Stony relieved: "I just don't like cops after what happened with my brother, that's all." For Keith that settles the matter: "All right, well, listen, car will be right here, make yourself at home." Before both versions run again synchronic due to alignment reasons a view of the city has been inserted in the theatrical version, besides, the scene with the car starts earlier respectively there is a cross-fading from Keith’s apartment to the car. In total the Director’s Cut runs a little longer.
( 33 sec. )
Director’s Cut:Theatrical Version:



75:59 Min.
At Luther’s hotel room. Again there is an additional take in the theatrical version where Cleo searches through the room, besides, the previous and following scenes are extended.
Theatrical version = +( 3,5 sec. )



76:05 Min.
There is another alternative setting. The theatrical version runs longer.
Theatrical version = +( 2 sec. )
Director’s Cut:Theatrical Version:



99:16 Min.
Only in the theatrical version there is an insert sequence during the car chase of Black Sam and his gang. "Shit, they are pooped....".
Theatrical version = +( 7,5 sec. )



104:07 Min.
Frankie got caught, only in the theatrical version there is an additional take of a police officer.
Theatrical version = +( 1,5 sec. )

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