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Uncut US Blu-Ray including the Director's Cut





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The Great Wall






The Man From Planet X






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Nightbreed

Comparison:

  • Theatrical Version
  • Director's Cut
Release: Nov 25, 2014 - Author: Muck47 - Translator: DaxRider123 - external link: IMDB
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Alternative Scene
52:06-52:23 / 61:47-62:06

Lori's walk through the area is included differently in both versions. In the Theatrical Version the focus is more on her, while the Director's Cut in between shows other residents.

Overall, the Director's Cut is 2 sec longer

Theatrical VersionDirector's Cut




Theatrical Version Longer
52:30-52:32 / 62:13

In the Theatrical Version the creature is shown a little longer. Subsequently, Lori is shown a little longer when walking to the wall.

+ 1.7 sec



Alternative Scene
52:33-52:39 / 62:14-62:20

Only in the Director's Cut Lori sees a "rider" on the other side.
The following shot of the creature wipes its mouth is in the Theatrical Version slightly longer towards the beginning (not illustrated below). Additionally, there is a short sequence with other creatures.

Overall, the Theatrical Version is 0.2 sec longer

Theatrical VersionDirector's Cut




Re-Cut
53:54-53:56 / 63:36 bzw 63:54-63:55

Only in the Theatrical Version the man in the cage is already shown. In the Director's Cut this happens roughly 20 seconds later.

No difference in time.



55:14-55:27 / 64:55

In the Theatrical Version we now in between the conversation between Decker and Detective Joyce (as was already described at 44:31-44:47 / 53:15-53:49) see the scene of Boone standing in front of the Baphomet.

+ 13.6 sec




Alternative Scene
64:27-64:33 / 73:55-74:01

After mutated Boone looked at himself in the mirror, the Director's Cut shows Lori getting on her way in a car.
The Theatrical Version instead shows the task force for a first time inside the hallway. Additionally, we see Boone again who lowers his head. The following shot in the hallway starts slightly earlier.

No difference in time.

Theatrical VersionDirector's Cut




Mirrored Scene
64:55-65:15 / 74:23-74:43

The first shots of Boone inside the diagnostic room were mirrored. Thus, it fits better to the previous shot where he was pushed to the right side of the room.

No difference in time.

Theatrical VersionDirector's Cut




67:27 / 76:55-77:31

After Boone was left behind in the cell, only the Director's Cut shows a press conference which makes police chief Eigerman angrily going to Decker in the following scene (which is also included in the Theatrical Version).

Reporter: "Has Boone made a confession?"
Eigerman: "They found traces of human flesh in his system. Does that answer your question?"
Reporter: "Cannibalism?"
Eigerman: "Sounds like that, doesn't it sweetheart?"
Reporter: "Is this the same Aaron Boone that was shot down in Midian four days ago?"
Eigerman: "What are you talking about?"
Reporter: "The man that was shot in Midian was Aaron Boone."
Meanwhile, an employee came to him and Eigerman leaves the room while saying "Excuse me."

36.6 sec




Theatrical Version Longer
67:51-68:12 / 77:55

Only the Theatrical Version now shows a short encounter of Boone and priest Ashberry in the cell.

Ashberry talks to the wall while Boone listens from the other room: "Can you hear me? They'll find a way to kill you, Boone. You know that? Are you listening? You're an abomination, Boone. You have to die. You hear me?"

+ 20.9 sec




68:13 / 77:56-78:16

After the shot of the landscape the Director's Cut shows a few more scenes of the police officers sneaking around. In between we see the creatures.

- "Christ. You can hide an army in here.
- "What exactly are we looking for, Sarge?"
- "We're here to kick some major league butt."
- "We're here to scout, not engage."
- "What about if they engage us?"
- "What about that?"

20.4 sec




Theatrical Version longer
68:18-68:19 / 78:21

In the Theatrical Version the police officer walks forward a little longer. We hear him anxiously saying "If there is, we call for backup."

+ 1.3 sec




68:22 / 78:24-78:25

In the Director's Cut, one of the officers says: "Why don't we shoot them in their graves? Save us digging new ones."

In return, the Director's Cut misses out on the anxious question "Was that something?" which is included in the Theatrical Version.

1.2 sec




Alternative Scene
68:31-68:33 / 78:34-78:37

Just before the door is bust open, both versions show sligthly different shots.

Overall, the Director's Cut is 0,4 sec longer

Theatrical VersionDirector's Cut




Teilweise Theatrical Version longer
70:15-70:22 / 80:19

In the Theatrical Version the car drives around a little longer (which is also shown from an additional angle). Then follows a short dialog inside the car. The shot of Rachel was reused later on for a different context in the Director's Cut.

Narcisse: "Why do we have to get him back?"
Rachel: "Maybe Baphomet told him something. Something that could save Midian."

+ 6.4 sec




Alternative Scene
71:04-71:06 / 81:01-81:03

In the Theatrical Version we now see a shot of Lori, while the Director's Cut instead shows the crowd.

No difference in time.

Theatrical VersionDirector's Cut




71:06-71:07 / 81:03-81:48

The Director's Cut now shows Eigerman coming into the camp. A fussy officer shows him all the weapons.

Eigerman: "Officer Kane, show him."
Kane grabs a gun.
Kane: "OK. We've got your spankin' new H and K G3 .308 NATO semi-automatic assault rifle. Blowback action and retractable bipods. For standard combat firepower, can't beat it."
Now follows a short shot of the residents arming themselves
Kane: "For the sportsman in the crowd we carry this handy pump-action Frenchie eliminator. This is the lightweight single barrel size. A perfect gift selection for ladies and juniors."
Decker: "That's fabulous, really. Terrific."
In the end we see Lori walking around.

In the Theatrical Version, the previous close-up shot of the weapons being unpacked is shown a little longer (not illustrated below).

Overall, the Director's Cut is 43.5 sec longer




71:09-71:10 / 81:50-81:56

The Director's Cut again shows Kane who says "You can always count on friendly garrote" and greedily nibbles on the cord.

In the Theatrical Version the following shot inside the armory begins slightly earlier (not illustrated below).

Overall, the Director's Cut is 5.5 sec longer




Alternative Scene
71:16-71:20 / 82:02-82:06

Other shots of the residents; only the Director's Cut again shows Lori.

No difference in time.

Theatrical VersionDirector's Cut




71:24 / 82:10-82:14

There is another shot of the trigger-happy convoy.

3.5 sec




Alternative Scene
71:26-71:30 / 82:16-82:17

In the Theatrical Version, two shots of cars are slightly longer at the beginning and the end; in between there is also an alternative take of Lori watching it all.

Overall, the Theatrical Version is 2.1 sec longer

Theatrical VersionDirector's Cut




(Partially) Re-Cut
71:32 / 82:19-82:53

Only in the Director's we see Lori again who runs into Narcisse and Rachel when they drive up in their car and call for her. Additionally, we now hear Rachel's sentence which the Theatrical Version had already used beforehand (see 70:15-70:22 / 80:19), but it is shown without Lori.

Lori hears a voice: "Please, get in."
Lori gets closer.
Lori: "Rachel?"
Rachel: "Lori, now."
Sceptically, she enters.
Lori: "What?"
Rachel: "Close the door."
Lori: "OK, what?"
Narcisse: "We have to get Boone back, Midian needs him."
Lori: "Why? What can he do?"
Rachel: "He went into Baphomet's chamber. He spoke to the baptizer."
Narcisse: "And survived. Nobody ever did that before."
Rachel: "Maybe Baphomet told him something, something that could save Midian."

33.5 sec




Alternative Scene
72:18-72:20 / 83:39-83:41

An alternative shot of the door and some smoke emission.

Overall, the Director's Cut is 0.2 sec longer

Theatrical VersionDirector's Cut




Alternative Scene / Partially Mirrored Scene
73:17-72:22 / 84:38-85:03

Loris first contact with Boone is a little longer and parts of the scene were mirrored.

In the Theatrical Version you at first see Lori, followed by Boone getting up and saying: "I'm not afraid of you."

The Director's Cut immediately shows a different shot of Boone. Slowly, Lori gets closer.
Lori: "Boone?"
Boone: "Stay away from me. I'll hurt you."
Lori: "I don't think so. Whatever you are, I'm not afraid of you."

Overall, the Director's Cut is 19.9 sec longer

Theatrical VersionDirector's Cut




Theatrical Version longer
73:29-73:35 / 85:11

Only the Theatrical Version shows some more fumbling, followed by Lori saying: "I don't wanna be dust. I want us flesh and blood."

+ 5.6 sec




Theatrical Version Longer
74:17-74:30 / 85:52

The Theatrical Version at the beginning includes some more "cool" dialog inside the car.

Eigerman: "Did you ever perform an exorcism, preacher?"
Ashberry: "No."
Eigerman: "I suggest you start rehearsing."
He gives Decker a gun.
Eigerman: "Better take one of these."
Decker: "I wouldn't know what to do with it."

+ 13.2 sec




Theatrical Version Longer
74:54-75:04 / 86:16

When they arrive in Midian, the Theatrical Version is a little tacky with it. These first shots were simply cut out of the Director's Cut.

+ 10.2 sec




75:17-75:24 / 86:29

After being ordered to enter, we in the Theatrical Version can see the car of Narcisse and the others.
Boone is driving.
Narcisse: "It's only a mile or two more."

This scene is shown a little later in the Director's Cut.

+ 7.4 sec




Alternative Scene
75:28-75:41 / 86:33-87:30

In the Theatrical Version you at first see the people in Midian a little longer, followed by the troups in the car.
Narcisse: "There's a shortcut near here."
Boone: "Where?"
Narcisse: "Now!"
(This will not be illustrated below, since it is also included in the Director's Cut slightly later).


The Director's Cut instead shows the residents shooting around a little bit, followed by Ashberry almost running into a trap and expressing his concerns. Eigerman attacks him.

Kane: "Plastic explosives at every intersection. Tripwires outside the biggest tombs. Figure those will be the major escape routes."
Eigerman: "How much time?"
Kane: "Five minutes."
Eigerman: "All right, pull back to the perimeter before we lose the light, there's movement underground."
Ashberry: "Captain."
Kane stops him right before he touches a piece of wire.
Kane: "Stop! Jesus, Reverend, not there. We've got claymores planted in the undergrowth."
Ashberry: "We've made a mistake. There's no evil. No, you're not listening to me! It's wrong, it's sacrilege! This is holy ground!"
Eigerman: "Go back to the perimeter, you pinhead."
Ashberry: "You brought me here because I'm a man of God and..."
Eigerman pushes him to the ground.
Eigerman: "Hang around here any longer and you'll be sitting in his left hand. Now you get the fuck out of here, you sorry son of a bitch."
Kane: "Claymore's gonna cut his nuts off faster than a hedge clipper."

Overall, the Director's Cut is 44.5 sec longer




Alternative Scene / Re-Cut
75:48-75:50 / 87:37-87:44

The Director's Cut now shows the scene inside Narcisse's car from 75:17-75:24 / 86:29.
In the Theatrical Version we instead see Decker going to the car a little earlier (not illustrated below).

Overall, the Director's Cut is 4.6 sec longer



Re-Cut
75:57 / 87:51-88:01

The Director's Cut now shows the car scene from 75:28-75:41 / 86:33-87:30 after Detective Joyce talked to Decker.

10.3 sec



Alternative Scene
78:05-78:07 / 90:09-90:11

Alternative shot of Midian burning.

No difference in time.

Theatrical VersionDirector's Cut




Alternative Scene
78:16-78:23 / 90:21-90:22

When Lori comes running by, the Director's Cut shows her again with Decker in the foreground who looks at his mask.


In the Theatrical Version we instead see an exclusive shot of Rachel. Then she already falls into a hole in the ground. The scene of ther fall follows later in the Director's Cut and is connected to a different context (see 79:22-79:25 / 92:39-93:18).


Overall, the Theatrical Version is 4.8 sec longer
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