Theatrical Version or Director's Cut Part 2
I wrote a post 18 month’s ago regarding whether a directors cut of a film is superior by default to the version originally shown in cinemas. Obviously the answer was no and I then went on to give three examples of films where I think the theatrical release is better to lengthier or substantially altered director’s cut that was subsequently made available at a later date. This time round in this post, I would like to do the complete opposite. I shall provide some examples of films that I think are significantly improved by a longer cut or a substantially, restructured edit. Note some of these examples are technically not a “director’s cuts” but a restoration or reconstruction of the director’s original vision. I shall endeavour to highlight what specific material or broader changes make each respective film “better”. As ever, all of these examples are a matter of subjective opinion and my views are presented as such, not “fact”.
My Local Cinema Part 2
I last wrote about my local cinema in late October 2025. The Sidcup Storyteller had shut and the local authority, Bexley Council, was negotiating with the management of the Castle Cinema in Hackney to run the establishment. Fortunately for all, a deal was struck and the cinema re-opened just before Christmas under the new name of the Castle Sidcup. I had the pleasure of seeing Zootropolis 2 there just after New Year and enjoyed not only the film but the cosy and friendly atmosphere of the newly refurbished cinema. It is convenient to be able to see new films locally and the fact that it is one bus ride away or a leisurely walk in good weather, makes it far more likely that I will actually go to see new releases, rather than watch them at home. The Castle Sidcup also has very competitively priced ticket prices which makes it a more inviting prospect compared to the two local chain multiplexes.
My Local Cinema
In a misguided fit of enthusiasm, I briefly considered booking tickets to go to London next month to see Predator: Badlands at the IMAX cinema at Waterloo. However, I balked at the price and when I considered the train journey and the fact I’d be going on my own, apathy got the better of me. I decided to wait until the film becomes available on Disney + etc. Hence cinema’s loss is streaming’s gain, which seems to be becoming an all too familiar story. I’ve only been to the cinema once this year and that was to the British Film Institute, where I saw an old classic, Electra Glide in Blue, rather than a new film. Last year I went to the cinema three times. All visits were to my local venue, the Sidcup Storyteller. Sadly that cinema has been closed since the end of July and its future has hung in the balance. Its absence has been keenly felt as it provided a pleasant and convenient local service.
Five Films I Like
I was asked recently, what are my top five films of all time? This is one of those loaded questions that I don’t really like to answer. I enjoy lots of films across multiple genres. This includes acknowledged “classics” as well as low rent, exploitative trash. So why limit myself to just five films? Also, my answers would change regularly depending upon my mood and current cinematic interests. However, that doesn’t make for a pithy and interesting response to the original question. So I shall compromise. Here is a list of five films that I have an abiding love for and watch frequently. They always entertain me and there is a sense of comfort whenever revisiting them. That's not to say they are all good films. Possibly only one that is listed is considered a piece of noteworthy art. The rest are just entertaining to various degrees. Yet I have a strong emotional attachment to them all. Sometimes that’s all that matters.
Theatrical Version or Director's Cut?
Not all film director’s have the luxury of “final cut”. The right to ensure that the completed version of a film corresponds with their creative vision. Films are commercial undertakings and sometimes the producers, film studio or other interested parties get to assert their wishes over that of the director. Often this can be due to practical considerations such as running time or budget. On occasions, this can be down to major creative and artistic differences. Hence the theatrical release of a film may be considered flawed, unfinished or just plain wrong by the director, if changes have been imposed, regardless of the reasons. Therefore, a director’s cut of a film can offer a significantly different cinematic vision over the original theatrical release. They can present an opportunity to fix perceived problems or just put more narrative meat on the bones. This may lead to a film being critically reappraised.
Broadening Your Cinematic Horizons
I haven’t been to the cinema since December 2019 when I saw the last Star Wars: The Rise of Skywalker. Increasing ticket prices, along with the pandemic have kept me away. But perhaps the biggest contributory factor to my ongoing cinematic abstinence has been just a lack of interesting films being released. My local multiplex has become a platform for mainly big cinematic franchises. Compared to the seventies and eighties, there is considerably less choice regarding the types of films being shown. I am not saying that a broad variety of films are no longer being made, because that is not the case. What has changed is the medium by which we view them. Human dramas, art house films, comedies and many other genres that don’t command major box office taking are no longer being shown theatrically and are finding a home elsewhere.
Cinema, Risk Aversion and Creativity
Paramount Pictures’ recent decision to forgo a worldwide theatrical release for Alex Garland’s innovative science fiction movie Annihilation and to sell it directly to Netflix, is still a matter of debate. It raises a wealth of issues from the current culture of financial risk aversion that dominates Western society, right the way through to gender politics. It certainly highlights the fact that the bottom line is now the primary motivator of any mainstream studio film production. All other considerations be they artistic, socio-political or just telling a good story are now subordinate to whether or will not a movie will make a predefined return on investment. It can therefore be cogently argued that many classic films from the sixties and seventies such as Bullitt, Deliverance and Dog Day Afternoon or would not be approved for production if they were pitched to studios in the current climate.