Not to mention Sam’s awful “And folks in them stories, they had plenty o’ chances o’ turning back—but they didn’t!” speech at the end—the tritest, phoniest moment in any of the 3 films.
Spoiler or no:
The ring should have ended with her son saying “Why did you help her?” Maybe she could have looked out of her balcony seeing her neighbors watching the TV all seeing “the video”.
Superman: Remove the scene where Superman takes Lois flying and she recites the most painful, treacly, grade-school poetry I’ve ever heard. “You can fly! You belong in the sky!” :barf:
Full Metal Jacket: Roll the credits after the final confrontation between Pyle and R. Lee Ermey.
I’d have to disagree. I think it makes a nice framing device with all of the kids strung together showing that the formerly free Everett has only really traded one chain gang for another.
I’d cut the final musical tag in The Ruling Class. The screen should have gone to black right after Peter O’Toole says “Jack. I’m Jack.” That would have been truly chilling while the ending reprise of “The Varsity Drag” just completely takes the edge off of it.
The Humphrey Bogart version of The Maltese Falcon should not have had the opening prologue which discusses the Knights of Malta and gives the history of the Maltese Falcon, a gigantic spoiler if ever there was one. With it at the beginning of the movie, there is no mystery about what the bad guys are seeking; without the prologue there would be.
Swordfish: Everything after the opening monologue. Yes, I realize that would make the movie about 5 minutes long.
The Chronicles of Riddick: Anything involving the Necromongers. The bounty hunting, prison escape scenes were great. The Space Messiah crap was not. It was like two separate movies were edited together into one big mess. I really like the Riddick character and I wanted to like this movie, but damn…
Cutting out the messiah stuff would mean the monk would no longer sacrifice himself. 
That was a really poinyent scene.
Take out every scene involving an action-packed thrill ride of danger and despair that is followed by a cry of “LET’S DO THAT AGAIN!”
I disagree. The film has a really muted color scheme all the way through. That final shot of the white sand and the bright blue water is really something after all the greys and browns. Plus Red and Dufrensne talk about the ocean in the film. It needs to end there.
There are a lot of silly Aragorn scenes in the movie. He was my favourite character in the books, but “reluctant, tragic” hero he was not.
gone with the wind should have ended after the line “frankly, my dear, i don’t give a damn.” the flashback scenes to all of the references to tara were anticlimatic and rather silly
I’ll grant that that’s possible, but still doesn’t really make much sense, to me at least. I’m going to have to re-read the story to comment on exactly why it made more sense than the film ending though. I just remember that it had something to do with…
The pre-crime prediction being technically correct - John Anderton does kill the equivalent of Max von Sydow’s character - but the circumstances show that he is not actually guilty of murder
Star Wars: The Phantom Menace
Heroes land on Tatooine after Hyperdrive is burnt out. Meet Anakin in the junk shop. Qui Gon attempts to brainwash the shop owner into selling cheap. It works. They go straight on to Coruscant, minus Anakin, who they pick up later after Qui Gon mentions to Yoda a child strong in the force. Hours of tedium and pointless pod-racing skipped.
Or alternatively, they could just go straight to ending credits after the opening text scroll.
I’ll pick the two obvious ones:
A.I. should have ended at the ‘obvious’ point, before throwing in all the alien crap.
Breakfast at Tiffany’s should have the Mickey Rooney scenes yanked.
I could live with the multiple endings, if they’d just eliminated the jarringly loud and annoying Dr. Know scene. Or at least toned it down.
The ultimate example of a scene that should have been cut is the psychologist’s exposition at the end of Hitchcock’s Psycho.
Roger Ebert agrees.
The difference between the short story and the movie is the entire point of the main characters life. In the movie he is really all about his son’s death and made pre-crime to prevent future murders. Also, his own happiness and the happiness of the pre-cogs is ultimately more important than preventing murders.
In the short story you have none of that background story for the Tom Crusie character or the pre-cogs. It is set after some terrible war and there are wastelands. The Max Von Sydow character wants to end pre-crime so he makes the false prediction happen. He will use this to bring down the government and place himself in power. The Tom Cruise character figures out his game and kills him. He isn’t executed but but he is sent off world to live on a colony. It will be a hard life but pre-crime is still in business. So in the short story the individual is less important than society.
They weren’t aliens. They are robots and the ending makes sense if you think of A.I. as a robot fairy tale with a happy ending.
The bookending scenes at the start and end of The Green Mile should have been done away with.
The ending of Bedrooms & Hallways bugs me. Leo and Sally should not have hooked up. It did set up Darren’s great final line; but I still choose to believe they just fell asleep on the couch rather than actually doing it.
As long as we’re editing Hitchcock, in The Man Who Knew Too Much (remake), I would remove all instances of Doris Day singing “Que Sera, Sera”.