This is a fanmix of Peter Weir's classic The Truman Show, reimagined as a psychological thriller in the style of Hitchcock/Lynch, viewed exclusively through Truman's perspective.

This version reconstructs the Roadshow version from the restored Blu Ray RT 176min, removes all the stills, but retains as much audio as possible while also adding in new elements including the reconstructed Overture, Intermission in full and Exit Music together with full credits AND a newly constructed ending as intended by George Cukor in HD.

Adrift in space, the Starbuggers discover the Gemini 12, a derelict with a powerful secret onboard - a device capable of time travel.
Shortly afterwards, they receive a distress call from themselves, 15 years older.
200 years earlier, the Boys from the Dwarf discover a stasis leak on Deck 12 leading back to the ship as it was before the radiation leak that killed the crew.
Across two time zones, Lister and the posse are going to unravel a mystery 3 million years in the making, and face the consequences of their own actions that they haven't actually done yet but possibly definitely will have going to be taken place in the future.
Simple as that.

The Living Daylights makes for a striking introduction to Timothy Dalton's iteration of James Bond (particularly after the Roger Moore era), not to mention a charming and exciting throwback to classical espionage adventures and the Ian Fleming novels themselves. It is, however, also held back by the sensibilities of the time, antiquated pacing (even for when it was released), and an apparent desire to not stray too far from the campier and leerier vibes of the films that preceded it.
The aim of this edit was to bring the standard of the film up to that of the central performance. I wanted to bring out the exciting, thrilling and romantic qualities of the film whilst downplaying its flaws, all while giving the technical execution of the film a more modern edge.

Jump back on Jump Street! An all new and longer extended cut of Lord and Miller's reboot of the classic TV series!

Seven extended, alternate and deleted scenes have been reintegrated into the film, adding 5 more minutes of Jenko's and Schmidt's high school infiltration!

My main Intentions were to remove any reference to things that have been removed from my edits of the films, making this version of the documentary work as a companion to my F13 [raymix] series. I've also removed some filler & odd comments.

I watched Love and Monsters when it first became available during quarantine and I was pleasantly surprised what a great movie and somewhat of a hidden gem it is. It has a great balance of humor, heart and its fair share of scary monsters.

I've put back all but 1 of the deleted scenes if for nothing other than to just spend a few extra minutes in this world created in the film.

The only real change I made to the film is moving the fate of Clyde and Minnow to a mid-credits scene so as to not takeaway from the emotional high we feel at the end of the film. Making a joke about Joel at this point was a little out of place and we as an audience needed to arrive at the end of the film feeling uplifted by the swell of the music as Joel becomes a leader.

An extended cut of Fantastic Beasts: The Secrets of Dumbledore.

This is the reconstructed version of the Roadshow with is 40 minutes longer in 720p and STEREO.

After uncovering a mysterious artifact buried beneath the Lunar surface, a spacecraft is sent to Jupiter to find its origins - a spacecraft manned by two men and the supercomputer H.A.L. 9000.

Evoking the emotions of the original, this tackles shot lengths and pacing and highlights H.A.L.'s motivations for a more approachable version of the film.

New watchers of the film should find this more approachable. Thank you for considering...The Short Cut.

The Book of Eli, if it were a PG-13 action movie.

ABC forced Frost and Lynch to name the killer mid-season and it really changed the series direction from Episode 10 and on.
This fanfix covers ONLY those episodes, which is everything after Laura's killer's reveal.

The goal of this edit is to keep the main Cooper/Black Lodge story in focus while also keeping the subplots that
actually had a payoff at the end of the season and keeping Windom Earle a more menacing force.

This edit pares off some runtime to improve pacing, and edits certain aspects of the story so the main characters enter the story without prior knowledge of each other.

Going to see Crystal Skull on opening night is probably the worst cinematic experience I've ever had. You could just feel the room deflate, all the energy disappear, the excitement turned to disappointment. I hated it.

However, time has been kinder than expected to the film. Maybe it's comparing it to what passes for modern "adventure" filmmaking, but it's sort of outdated style kind of works in its favor. There's a lot of things that do work about it. Harrison Ford and the rest of the cast are game. Though it's kind of a "left hand" movie from Spielberg, he's still the greatest movie director of our lifetimes, so it's still got some great visuals and action. The story could be intriguing.

The best parts of Halloween II, (H81) Hall0ween 2018 (H18), and Halloween Kills (H21), To make one film that functions as a direct sequel to the original.

By cutting out scenes that are out of character and using alternant or deleted material form the movie I wanted to give this movie a different feel. I also rescored scenes with different music to recontextualize or emphasize different moments in the movie.

I've removed the “flashback scene” from Vertigo to align with a) the source novel “D’entre Les Morts” and b) Alfred Hitchcock’s longtime screenwriter/uncredited collaborator Joan Harrison’s insistence that the movie worked better without this scene, which gives away a major plot twist nearly half an hour before the film's climax. Prior to its theatrical release, Harrison arranged for a screening of her cut for Hitchcock and his wife Alma, James and Gloria Stewart and the film’s producer Herbert Coleman, which ended with a divided audience. Ultimately the film’s producer and distributors swayed Hitchcock to their side and the scene stayed in, with Hitchcock later stating that he preferred suspense to surprise.

My main Intentions were to remove any reference to things that have been removed from my edits of the films, I've also added some deleted segments & removed some filler/odd comments.