Midnight Slaughter Train
- Removed the conductor character from the film
- Mr Mahogany has no dialogue at all in this version
- Removed all references to the 100 year old cult and butcher
- Removed the whole police conspiracy
- Removed the subway creatures
- Created new alternate ending more in line with the tone of the movie
- Resynced off-sync slashing noises during prologue murder sequence
- Retitled film Midnight Slaughter Train, overlaid new 'bashing' and splatter sounds, added gate weave and grindhouse-like effect to main title
- Ted Raimi's death re-edited to make it more realistic (the slow motion eye-pop timing adjusted)
- Shortened sequence of Bradley Cooper stalking Mahogany (Vinnie Jones), trimmed for pacing
- Slight trim to Mahogany seeing the midnight meat train arrive (as this footage would be used in its entirety again later on)
- New ending to the Mahogany-Afro ninja fight as the conductor character is completely removed in this cut. Mahogany does not require assistance in this version, no "I'm disappointed in you" line.
- Removed the '1895' year from the newspaper Cooper is examining by blurring and cropping
- By using pans and rotation, recreated the overhead zoom-out shot of Cooper on the floor with the newspaper clippings, again to remove the visible '1895' year in the original
- Recut and reordered dialogue in scene when Cooper talks to his wife (Maya) to remove all references to "murders over a century ago" etc, so that it is now referring to abductions only several years prior
- Cut scene of Cooper reconciling with Maya in the diner and Mahogany stalking Cooper (for pacing)
- Cut scene of creature frightening bound Cooper. In this version, Cooper wakes up in the meat factory after Mahogany knocks him out in the train, implying that Mahogany himself had carved the occult symbol on Cooper's chest
- Cut Maya asking Jurgis to wait outside at Mahogany's apartment
- Cut Jurgis jump scare
- Cut Cooper in bathtub (rearranged to occur later)
- Cut Maya digging through Mahogany's bag to find century-old train schedules
- Cut Cooper at art gallery (for pacing)
- Cut two shots of conductor while Maya on train
- Cut the conductor meeting Cooper and Maya at the underground station
- Cut the creatures
- Cut Mahogany's line "Welcome"
- Cut the conductor's confrontation with Cooper
- Added Cooper's bathtub scene here, after the Mahogany fight
- Created alternate ending which fits the psychological horror/obsesssive tone of the original and utilizes the original build-up.
- Added acknowledgement card after credits
Overview - One of the better Clive Barker adaptations. This concerns an ambitious, artsy shutterbug trailing a possible homicidal killer (Exceptional use of Vinnie Jones, by the way.). Ranger’s edit removes all references to occult and conspiracy elements, and thrusts this smack into splatter spree territory.
Video - Excellent editing, as expected from this editor. New opening credits, well chosen and well done. Story spends considerable time in subway trains, drenched in darkness and flickering light. Blacks solid throughout.
Audio - Dynamic 2.0 sound mix. Dialogue generally clear, bit murky at noisy junctions. No subtitles. Quite a bit was removed for this version, but no audio giveaways. Nice job.
Narrative - Some odd things persist. The butcher is still cutting those “chest scabs” during one scene. No explanation whatsoever. Which is OK. In Ranger’s version, the butcher is an inexplicable force of Nature, compelled to murder, though patient enough to wait for the lonely opportunity. The randomness of the attacks is particularly chilling.
Enjoyment - Take the A-Train, baby. I enjoyed this slasher ride a lot. In the original, and I know others will regard this as blasphemy, I considered the demonic angle distracting, if not silly. Here, the butcher is a twisted soul. Because we cannot tell what formed him or what compels him, he becomes a rogue cancer cell in the community.
As much as the butcher is a slave to his impulses, the photographer is equally troubled. His narrative is one of obsession becoming compulsion. He is increasingly drawn to darkness, forsaking the light.
Despite the gore and violence (squeamish souls, take note), this film is bleak, cold, despairing at times. Perfect, nonetheless, for urban dwellers who walk the half-lit 2:00 AM streets and try not to glance over their shoulders.