All together the killer cut is longer by 498,34 seconds with a total number of 58 cuts and changes.
Elapse time of the Killer Cut without closing credits: 1:39.46 Min
Elapse time of the theatrical version without closing credits: 1:31.27 Min
The elapse time specifications of both versions are after the scheme killer cut/theatrical version.


The 58 changes piece together from:
11 action cuts
12 action cuts with alternative material
14 violence cuts
3 violence cuts with alternative material
6 erotic cuts
8 erotic cuts with alternative material
1 re-cut
6 cuts in the killer cut

(Attention: Some changes fit in more than one category and got mentioned twice in the categorical enumeration)

0.00
The black picture before the movie is longer in the killer cut.
1,5 Sec

1.44 / 1.43 - action cut
Already at the recap of the happenings at “Friday the 13th” (1980) the first changes have been made. In the killer cut Jason’s mother walks some more steps torwards Alice, litte Jason is watching her doing it.
5,79 Sec


1.50 / 1.43 - cut in the killer cut
The next take included in both versions of Alica and Jason’s mother starts a bit earlier in the theatrical version.
+1,29 Sec


2.36 / 2.30 - action cut with alternative material
At this part both versions show alternative material.

killer cut (2,87 Sec)
Little Jason walks through the forest.

theatrical version (2,71 Sec)
Here you see just a take of the forest, without little Jason.

0,17 Sec difference

2.46 / 2.40 - action cut/violence cut with alternative material
At this part both versions show alternative material.

killer cut (3,38 Sec)
Little-Jason walks to his dead mother and bows down next to her. You can plainly see the disembodied head laying apart of the body.

theatrical version (2,33 Sec)
The amulet of Jason’s mother lays on the ground and gets rained on.

1,04 Sec difference

2.52 / 2.45 - action cut/violence cut with alternative material
At this part both versions show alternative material.

killer cut (3,33 Sec)
Little Jason bows down and reaches past by the disembodied head of his mother to pick up the amulet.

theatrical version (1,58 Sec)
Here you only see the amulet, this time from another perspective.

1,75 Sec difference

3.12 / 3.03 - action cut
Little Jason lets the amulet back down.
1,96 Sec


3.16 / 3.05 - action cut with alternative material
At this part both versions show alternative material.

killer cut (4,42 Sec)
Little Jason sees a machete laying on his dead mother. He looks closer at it and then takes it.

theatrical version (1,92 Sec)
At this part it gets shown in the theatrical version how little Jason lets back down the amulet. They used the same take as in the killer cut.

2,5 Sec difference

3.24 / 3.10 - action cut with alternative material
At this part both versions show alternative material.

killer cut (2,5 Sec)
Jason walks a few steps with the machete in his hand.

theatrical version (4,46 Sec)
Now Jason discovers, looks upon and takes the machete in the theatrical version.

+1,96 Sec difference

Because of the last three changes the material got shifted in principle. In the killer cut those takes are to be seen before the credits overlay but in the theatrical version they’re used after these. At the end the killer cut has because of that an empty “slot” which got filled up with the take of walking Jason.

9.56 / 9.44 - erotic cut with alternative material
At this part both versions show alternative material.

killer cut (2,46 Sec)
Amanda grabs on her bra and gets ready to put if off

theatrical version (2,46 Sec)
Amanda rubs her breasts and smiles playful while doing so.

no time difference

10.02 / 9.50 - erotic cut with alternative material
At this part both versions show alternative material.

killer cut (2,54 Sec)
Amanda puts off her bra and smiles seductively.

theatrical version (2,54 Sec)
Amanda puts off her bra, her glimpse is there but….well, not really seductively.

no time difference

10.07 / 9.55 - erotic cut with alternative material
At this part both versions show alternative material.

killer cut (4,71 Sec)
Amanda drizzles the liquid on her hand and then rubs her breasts.

theatrical version (3,71 Sec)
Here Amanda splatters the liquid directly on her breasts and then moves her hand to the implied place. The following take starts plainly earlier in the theatrical version than it does in the killer cut.

1 Sec difference

10.13 / 10.00 - erotic cut
The end of the take with a very obvious gesture is longer in the killer cut. Moreover there is an additional take, where Amanda rubs her breast.
3,04 Sec


10.16 / 10.00 - action cut with alternative material
At this part both versions show alternative material.

killer cut (2 Sec)
A close up of Wade is to see when he says „un-fucking believable“

theatrical version (2,5 Sec)
Wade also says „un-fucking believable“ in the theatrical version, meanwhile you can see another close up of his face

+0,5 Sec difference

10.22 / 10.07 - erotic cut with alternative material
At this part both versions show alternative material.
killer cut (3,88 Sec)
While Wade answers Amanda proudly presents her breast. Oh yeah, Wade is also in the picture… somewhere.

theatrical version (2,33 Sec)
Here you only see Wade.

1,54 Sec difference

16.06 / 15.50 - erotic cut
After they got scared for the first time, the two in the tent try to still have some fun.
9,17 Sec


19.33 / 19.08 - violence cut
Amanda gets cooked in the sleeping bag much longer. She screams in pain and yells for Richie. Then you see him, who is no a big help because of a bear trap (Jason seems to have spent the years since his last movie watching MacGyver). Then Amanda can scream a little more, when she rolls out of the sleeping bag, the theatrical version is back.
6,58 Sec


19.40 / 19.08 - cut in the killer cut
The already mentioned take in which Amanda rolls out of the sleeping bag therefore starts earlier in the theatrical version.
+0,38 Sec


21.25 / 20.53 - violence cut
When Mike gets attacked from below only the killer version shows how Whitney climbs into the bath tube in which the head of Jason’s mother is.
4,21 Sec


21.35 / 20.59 - violence cut
Mike squats moaning at the ground a little longer while Whitney traverses the bath tube to come to Mike.
4,08 Sec


23.31 / 22.53 - action cut with alternative material
At this part both versions show alternative material.

killer cut (2,42 Sec)
Jason calmly stays next to the fire and watches Richie and Whitney.

theatrical version (1,21 Sec)
Jason runs to them.

1,21 sec difference

23.37 / 22.56 - action cut
The take of Richie is longer and the following take of Jason starts earlier.
0,54 Sec


23.39 - violence cut
After Jason slashed the machete into Richie’s head you can see his face longer. Blood flows down along the nose. When Jason pulls the machete out of Richie’s head, the theatrical version starts back up.
1,21 Sec


40.04 / 39.20 - action cut
The take of the farmer who talks to his stuffed “pet“ starts a bit earlier.
Farmer: „What’s up, beaver bear?“
2,17 Sec


40.54 / 40.09 - action cut
When the farmer gets up he throws another sentence into the lifeless face of the stuffed animal.
Farmer: „Don’t smoke my weed, motherfucker.“
4,83 Sec


40.59 / 40.09 - cut in the killer cut
The take following directly afterwards, in which the farmer walks through his barn, therefore starts earlier in the theatrical version.
+2,13 Sec


47.51 / 47.02 - action cut with alternative material
At this part both versions show alternative material.

killer cut (57,33 Sec)
Jenna and Clay walk a bit more through the forest and then enter Camp Crystal Lake. They both look around and Jenna says that she never liked it to go camping. When Clay asks her about the reasons she replies, that she has a problem with the nature, the food and the lack of toilet paper. The both keep walking, then Clay says that they could search for his sister in one of the cabins. Jenna agrees and the both start to enter one of the old buildings. With the take of the boat bridge, the theatrical version is back.

theatrical version (7,75 Sec)
Here they show a take in which Jenny and Clay wordless enter Camp Crystal Lake.

49,58 sec difference

55.39 / 54.01 - action cut with alternative material
At this part both versions show alternative material.
killer cut (126,46 Sec)
Now the longest change in the killer cut comes.
In the theatrical version Jason had also carried a corpse though the cave. But in the killer cut he returns into the room where Whitney is trapped. He walks through it and moves to a grindstone which is located a few feet away of Whitney. She is scared and watches Jason. He starts the grindstone and makes sure that his machete is also usable in the second half of the movie.

While Jason grinds his machete you suddenly see a flashback to the death of his mother. Jason gets angry and starts kicking metal tubs and throwing them through the cave. Whitney gets even more frightened and suddenly Jason walks towards her.
Jason pushes Whitney on the grate and she asks him to spare her. Then Jason discovers the amulet of his mother, which Whitney wears around her neck. He looks at her and says “It’s okay” Then Jason leaves Whitney alone and she sinks to the ground. This part got added back to the theatrical version later on and because of that is rarely illustrated only for orientation purposes.

Jason hits the road and leaves his cave, the following take of Whitney starts earlier.

theatrical version (3,92 Sec)
Instead a look of the cave where Whitney is trapped in is to be seen in the theatrical version.

122,54 sec difference

59.16 / 55.36 - action cut
In the killer cut you see how Whitney tries to crack the lock longer.
0,79 Sec


59.17 / 55.36 - cut in the killer cut
Whitney works a little shorter on the lock, therefore the scene that has already been shown in the theatrical version got re-added into the killer cut. That’s the reason for the rare illustration for orientation purposes. Jason suddenly appears and grabs Whitney. He pushes her on the grate and she asks him to spare her. Then Jason discovers the amulet of his mother, which Whitney wears around her neck. He looks at her and she says “It’s okay” Then Jason leaves Whitney alone and she sinks to the ground.
+39,67 Sec


59.32 / 56.31 - action cut
With this scene the biggest change in the killer cut starts. Whitney keeps working on her restrains and actually manages to lose them. She groans relieved and starts to escape from the cave. She runs though small corridors and suddenly hits a door - literally. She falls to the ground at the other side and find Jason’s corpse chamber. Some already half putrid corpses get stored there. Whitney is disgusted, but then hits back the road. She keeps running till she finds an opening in the ceiling which will led her to the house above her. She climbs upwards and leaves the house. Whitney keeps running and reaches a little bridge. She chooses the way through the cold water.
88,38 Sec


1:04.49 / 1:00.19 - erotic cut
The sex scene between Trent and Bree starts a bit earlier. They both kiss and she tries to pull off his shirt. Then she pushes him onto the bed and the following take where she gets rid of her own clothes starts a bit earlier.
5,38 Sec


1:05.02 / 1:00.26 - erotic cut with alternative material
At this part both versions show alternative material.

killer cut (5,54 Sec)
Here everything happens in one take. Bree takes off her bra, pushes her hair out of the way and Trent enjoys the nice things of life

theatrical version (3,96 Sec)
Bree pulls out her bra in two takes. Then she lifts her arms and smiles while Trent strokes over her belly.

1,58 sec difference

1:05.15 / 1:00.38 - erotic cut with alternative material
At this part both versions show alternative material.

killer cut (9,21 Sec)
Bree kisses Trent, then she opens his belt and then his pants.

theatrical version (1,46 Sec)
Here Bree and Trent are only kissing.

7,75 Sec Differenz

1:07.17 / 1:02.33 - erotic cut with alternative material
At this part both versions show alternative material.

killer cut (10,33 Sec)
Bree holds a camera in her hand, hardly to see is a TV in the background, busy with the camera’s point of view. To the audience much more of the sex between Bree and Trent gets shown.

theatrical version (2,83 Sec)
Bree films Trent while they are having sex, the pictures of the camera are to see on the TV in the background.

7,5 sec difference

1:07.59 / 1:03.07 - re-cut
At this part there is a complete, around 30 seconds lasting sequence missing in the theatrical version. It gets reinstated at 1:11.02/1:08.25 but some changes were made.
details in the slide-in

---

1:08.09 / 1:05.37 - erotic cut
Bree rides on Trent longer. The rearward close that is also in the theatrical version starts earlier as well.
7,63 Sec


1:08.20 / 1:05.41 - erotic cut
Jason watches Trent and Bree longer while they have sex, then he turns and looks at the shack where Chewie soon will lose his life.
6,46 Sec

---

1:10.22 / 1:05.03 - violence cut
The close up of Chewies neck is longer, a lot of blood splutters out of the wound.
1,88 Sec


1:10.26 / 1:05.04 - violence cut
The next take of Chewie got extended as well.
1,71 Sec


1:10.29 / 1:05.06 - violence cut with alternative material
At this part both versions show alternative material.

killer cut (5,5 Sec)
Jason gives a detaied view of Chewie’s neck to the screwdriver. Chewie spits a lot of blood.

theatrical version (2,04 Sec)
The theatrical version shows an alternative take which is much shorter and in which Chewie spits less blood.

3,46 sec difference

1:10.36 / 1:05.09 - violence cut
The take of Chewie starts earlier, but since the majority of the extended part is pretty dark, you don’t really see a lot.
3,13 Sec


1:10.44 / 1:05.15 - violence cut
You see Chewie’s head for a short time in the killer cut before Jason drops the corpse.
1,13 Sec


1:10.59 / 1:05.28 - violence cut
To finish the scene the killer cut shows a close up of Chewie’s corpse.
3,25 Sec


1:11.02 / 1:05.41 - action cut/erotic cut
Whitney runs through the forest, then you see Bree and Trent having sex. Bree says that she is close to orgasm and Trent replies that he can’t hold back for much longer anyway. Then Whitney keeps running and in the continuity there are some more takes of the sex.
24,79 Sec


1:11.30 / 1:05.44 - action cut/erotic cut with alternative material.
At this part both versions show alternative material.

killer cut (23,33 Sec)
Whitney keeps running, then you see a longer part of exclusive sex again. Whitney runs to the window and manages it to touch the pane. Before she is able make herself heard Jason appears behind her and grabs her. He keeps her mouth shut and drags her away while Bree and Trent still have her fun. They both come and Bree falls down on the bed next to Trent. She rises up in frenzy and Trent cheers.

theatrical version (10,71 Sec)
The sex between Trent and Bree keeps going, Jason watches them trough the window. Then both are on their climax, Bree groans happily and rolls next to Trent down on the bed.

12,63 sec difference

1.11.55 / 1:05.57 - action cut with alternative material
At this part both versions show alternative material.

killer cut (4,29 Sec)
Jason drags Whitney away of the house.

theatrical version (2,04 Sec)
The close up of Trent and Bree starts earlier.

2,25 sec difference

1:22.23 / 1:16.22 - violence cut
Clay and Jenna run longer. They pass the whirlpool in which Lawrence’s corpse lays. The blood has colored the water red. The camera moves a bit upwards and shows the corpse and the pool out of the bird’s-eye perspective.
14,71 Sec


1:24.14 / 1:17.58 - violence cut
Jason seems to have seen too much of „Texas Chainsaw Massacre: The Beginning“ Like his colleague with the face made out of leather he also lifts his victim (Trent) up and lets it to bleed out with the murder weapon looming out of his chest.
3,67 Sec


1:24.18 / 1:17.59 - cut in the killer cut
Therefore the next take got extended in the theatrical version. Here you see Trent dangle a little longer from the distance.
+0,29 Sec


1:24.20 / 1:18.01 - violence cut
Trent’s „innovative“ passing away gets savored a little longer. The machete bores though his body longer in a bloody way. Blood spreads on the ground. Furthermore the farmer tries desperately to get his car working. When Jason impales Trent on the car the theatrical version starts back.
11,17 Sec


1:24.33 / 1:18.04 - violence cut
After Jason impaled Trent the car immediately starts driving in the theatrical version. One additional take of Trent as well as two takes, in which the farmer finally made it to convince his car to drive are missing.
2,46 Sec


1:24.36 / 1:18.04 - cut in killer cut
The take in which the car drives away of Jason therefore starts a little earlier in the theatrical version to get a better connection.
+0,29 Sec


1:24.49 / 1:18.17 - violence cut
Clay and Jenna run longer through the wilderness again and this time stumble over Chelsea’s corpse.
14,17 Sec


1:25.07 / 1:18.21 - action cut
The take of the bridge is a little longer. Then Clay and Jenna stop for a second. Clay says that they are on the right way, then they both start running again.
6,42 Sec


1:26.11 / 1:19.18 - action cut
Clay and Jenna walk through the house longer. They both take a look into the bathroom before they leave the building.
22,17 Sec


1:37.34 / 1:30.19 - action cut with alternative material
At this part both versions show alternative material.

killer cut (62,75 Sec)
The take of Jason ends “normal”, then some takes of Camp Crystal Lake and its surrounding gets shown to recall Jason’s activities during the movie. Last the camera slues through Jason’s room and shows the bed where his name is engraved. From there it fades to the last scene.

theatrical version (1,92 Sec)
A fade directly from Jason to the last scene got added.

60,83 sec difference

1:38.42 / 1:30.26 - action cut
The slow slue over the boat bridge is a bit longer.
2,58 Sec

Verfasst von Playzocker am 26.07.2009