First, the bottom line: if you saw Midsommar (review) in its original summer run, there’s no pressing need to revisit it so soon. In all likelihood you’ll barely even notice the new director’s cut material. If you missed it the first time around and a theater near you is showing it, however, this is a nice opportunity to catch the summer’s sunniest folk horror on the big screen. (Apparently, the only other way to see the extended cut will be via Apple TV beginning on September 24, where it will screen exclusively—for the time being, at least.)
As far as what’s new: twenty five minutes of restored material is not a lot, but it pushes the overall runtime to a taxing 2 hours 50 minutes. The additions change nothing significant, and maybe in one case blunt the film’s impact. Some of the early scenes, such as the trip from Stockholm to the Hårga commune, are extended for character development purposes. Christian, Josh and Mark all come off worse. There are also a few additional scenes of pagan rites.
The most noteworthy departure occurs when the commune stages another pageant, but this time set during the few hours of midsummer darkness. The ritual itself is effective, playing with our expectations, but will only surprise those who didn’t see the theatrical cut. It’s followed by an explosive argument between Christian and Dani, which I think was too on-the-nose, and likely a minor mistake. The movie works better when we glimpse the rift between them as just a hairline for as long as possible, making the final crack more devastating. I appreciate the appearance of a nighttime scene, which dramatically breaks the film’s sunshine motif, almost exactly at the film’s midpoint; but the payoff doesn’t justify such a dramatic formal departure.
Overall, I think the extended version proves that the cuts the studio requested of writer/directorwere wisely chosen. Given the choice, I’d save twenty-five minutes and watch the shorter theatrical cut.
The bigger question, I think, is why did A24 bother to re-release Midsommar to theaters at all? They aren’t going to squeeze enough juice out of this specialty berry to pass Avengers: Endgame in the all-time receipts race. I think it signals one of two things: either Aster’s two hits for the studio have given him enough pull to dictate programming strategy (maybe he made the extended theatrical release a condition for accepting the requested cuts); or, A24 thinks that they have a long-shot awards season contender on their hands (Florence Pugh), and want to keep Midsommar fresh in the minds of critics. I’m going with the second explanation.
WHAT THE CRITICS SAY:
“…the newly released Extended Cut expounds on the misery felt by both members of the couple and allows a deeper glimpse into the alien culture they are drawn into.”–Brad Gullickson, Film School Rejects