Dark Dimensions aims to trim and cut all of the ill-timed or dated jokes for a more timeless spiritual journey into the Mystic Arts as we experience it along with Strange. Gone is the extended prologue with the Ancient One, the Beyonce jokes and the overly long and drawn out gags to allow for the film to flow a little more naturally with an even tone throughout. Experience the battle against the forces from the Dark Dimension in a more enjoyable and concise way.

Buck and Wilma go undercover to spy on a terrorist organization, The Legion Of Death. Their mission: to prevent the destruction of New Chicago. Buck infiltrates the group and is aided by beautiful Joella. Our heroes run out of time when the villains reach Earth, but at the last minute one of the villains, tragically disfigured Varek, repents and helps save the day.

My Boondock Saints II (no need for the "All Saints Day") differs from the source in the way that it strengthens the overall narrative by tightening up the dialogue, cinematography, and performances while removing the music from the directors band and replacing it with music both more fitting as well as more aesthetically pleasing.

Spider-Man 3 Back and Black follows the struggles between Peter Parker and Mary Jane Watson's relationship, and also more focuses on the side of Sandman and not as much focusing the attention on Venom.

The 'Entirely Respectable Editions' seek to remove all material that is silly, overplayed, misjudged, overly comical, ridiculous and generally inconsistent with the more serious tone established in the earlier 'Lord of the Rings' Trilogy. It is not a radical restructure, or a two-film cut and does not set out to streamline narrative, quicken pacing, or remove characters and plot-threads. The more time we spend in Middle Earth the better, I just want Middle Earth to be a more sensible place while we're there.

I made Nesmith's first visit to the ship a little more ambiguous by deleting the shot of the limo being beamed up. And I restored Gwen's f-bomb.

The Man With The Golden Gun is now taken a little more seriously, which means no silly karate fight outside of the karate school, a shorter boat chase without the annoying kid selling an elephant statue and most importantly, no J.W. Pepper (which unfortunately meant losing the entire car chase).

Roger Moore's first foray into the spy world of Bond was a pretty good start in terms of seriousness, but some of the outdated slang and J.W. Pepper really kills the feeling of this being a classic James Bond movie. Also, the boat chase was like 20 minutes long.

This edit brings together Prometheus and Alien: Covenant in one single movie of 148 minutes, that sticks as close as possible to the atmosphere of the very first Alien, whitout ruining its lore and mythology like the original movies did.

Go Like Hell is a light but (in my opinion) substantial edit that tightens and focuses the narrative of Ford v. Ferrari, resulting in what I believe is a stronger film. I loved the original release, but even in theatres found myself questioning the authenticity of some aspects, causing a dissatisfaction that I felt wasn't necessary.

After the success of Timothy Dalton's first outing as James Bond in The Living Daylights, anticipation was high for the follow up. However, with a more ruthless take on the character and more violence which caused particular trouble in the UK market where it became the first Bond film to receive a 15 rating, Licence To Kill did suffer somewhat at the box office. It was still a hit, but due to legal issues it would be the last Bond film for 7 long years and the last Dalton Bond film.

It's a shame, as the film on the whole has a lot to offer. Dalton is terrific as Bond, arguably the closest anyone has got to playing the character as Fleming wrote him, and Robert Davi's Sanchez is one of the most realistic and finest villains in the long history of the series. However, the film is not without its problems. Considering John Glen is an experienced Bond director, the film feels somewhat clumsy at times, particularly in some of the editing and most noticeably in the performance of Talisa Soto as Sanchez's girlfriend, Lupe. Also, such is the serious nature of Dalton's Bond, the few attempts at humor do not work that well.

The 'Entirely Respectable Editions' seek to remove all material that is silly, overplayed, misjudged, overly comical, ridiculous and generally inconsistent with the more serious tone established in the earlier 'Lord of the Rings' Trilogy. It is not a radical restructure, or a two-film cut and does not set out to streamline narrative, quicken pacing, or remove characters and plot-threads. The more time we spend in Middle Earth the better, I just want Middle Earth to be a more sensible place while we're there.

While SCREAM 4 was mostly considered as a return to form after the lackluster third installment, I still believed that the pacing and overall tone of the film could be improved with the addition of deleted scenes and the removal of some humor and other bits that hurt the movie.

This edit aims to provide a more complete, satisfying and enjoyable telling of Elton John’s story, particularly for fans. Deleted scenes are restored, including Elton’s first suicide attempt and a subplot regarding the AIDS crisis. Two egregious factual inaccuracies are removed: Elton taking his last name from John Lennon (the real-life origin, from blues singer Long John Baldry, is well-known) and Elton playing his ‘80s hits in the ‘60s. The tone and pacing are also improved by cutting Elton’s last argument with his mother (a miserable scene that is too similar to the argument with Bernie Taupin directly following it). Finally, a couple musical Easter eggs are added to the film’s score.

James Bond changed in the 1980s. With the retirement of Roger Moore and introduction of Timothy Dalton, we transition from action movie with-a-wink to spy thriller. Well... mostly.
Dalton, inspired by the novels, presents a colder, more cynical Bond. His approach to win the confidence of a beautiful woman behind the Cold War's Iron Curtain, reminds of Richard Burton's performance in the Spy Who Came In From The Cold.
Perhaps the filmmakers feared that changing Bond overnight from the suave, cheery gentleman to a cynical smoking alcoholic, would feel as jarring to the audience as dislocating your shoulder. Perhaps they were right to fill Dalton's first adventure with comedic moments. In hindsight, however, we know the audience responded just fine to the comparable transition from suave and jocular Pierce Brosnan to steely-eyed and cynical Daniel Craig.

I appreciate what Jim Carrey and Ron Howard did for the movie, but the problem with Carrey's humor is that it was great in the 90's, but now it just feels a bit much. I really liked A LOT of what they did to flesh out the story, I tried to keep it more focused on the story and less on giving Jim Carrey several minutes of complete improv sessions.

An epic two-in-one edit of Avengers: Infinity War and Avengers: Endgame. Seamlessly combining the two films, along with credits scenes from Ant-Man and the Wasp and Captain Marvel. Additionally, there has been much cut from both films to remove some of the crappy dialogue and humour, to make for the most digestible and tolerable rewatch experience.

The original release is a pretty boring movie, we follow Chris Pratt's character, Jim, throughout the film, and see his personal struggles with his fate, and his relationship with Jennifer Lawrence's character, Aurora, flourish. If you've seen the movie then you know the plot, but, if you haven't, then that's all I can really tell you without ruining it.

Essentially what this edit does is rearrange the movie to follow Aurora, which makes for a much more interesting viewing experience - activating the psychological elements that the original film set up.

This is a follow-up to my Force Awakens edit “The Ford Awakens”, where Han Solo survived the events of that movie…due to having zero footage of him to use in the Last Jedi, I had to give him a minimal role in the film. He only appears on-screen once (in the scene where he meets Luke…yes, he meets Luke), and the rest of his appearances are represented by various soundbites from the original trilogy, each carefully selected to connect to certain scenes in the third act.

Halloween Resurrection came after the success of Halloween H20: Twenty Years Later, where it appeared that Laurie Strode had once and for all destroyed infamous serial killer and her brother, Michael Myers, aka The Shape. Therefore, trying to explain away just how he could have survived such a definitive and crowd pleasing ending, was always going to put the film makers involved in another sequel in a very difficult position. That aside, Resurrection decided to kill off Laurie Strode in the first 10 minutes of the film.

The rest of the film played with the concept of a media company, Dangertainment, inviting some lucky teenage entrants to try and spend a night in the house of Michael Myers, on Halloween no less. This concept, with all the web cameras etc was actually quite an intriguing one to bring to the series. However, annoying characters such as Freddie (played by Busta Rhymes) reduced the film to a bit of an embarrassment, especially when it came to poking fun at Michael and having Freddie defeat him by using his kung fu no less.

If the following strikes you as esoteric, I invite you to peruse the forums of Originaltrilogy.com.

I do not consider this a full-blown fan edit, as I am primarily hybridizing existing official versions of the film, keeping changes I can appreciate and excluding those I feel hinder the film. Of course, this is highly subjective, and everyone's perfect blend would be slightly different.

Having satiated my restlessness with the Star Wars prequels, I wanted to put together a custom 'Special Edition' of the original trilogy to place on my shelf alongside the original, theatrical versions (currently represented by Harmy's Despecialized Editions). I thought about calling them the "So You've Decided To Watch The Special Edition" version, because they wouldn't be intended as one's sole version of the films. Rather, a companion piece to the original versions, as a Special Edition should be.

A hybrid version of Star Wars, combining the best of the original version and the special edition, using both official and unofficial sources... as well as several unique enhancements and edits to try and modernize the film just a tad.

I removed a few wires, took out some things that I thought were kind of dumb, removed Kurgan's eyes flickering when he pops the blades out of his sword's hand guard and removed all references to Connor winning The Prize.

In this specially restructured fanedit of Superman Returns, Clark comes to terms more immediately with what he's left behind, and there is a more likeable and conflicted Lois who isn't so cagey around Kal.

Licence to Kill stands out in the Bond series for its sense of danger, brutal villains, and Timothy Dalton's driven 007 – but it's got problems, including off-tone comedy, perplexing love interests, and an obligation to franchise expectations. Licence to Kill: Recut aims to eliminate these problems.

The Living Daylights stands out in the Bond series for its mix of Cold War espionage and escapist adventure, its tender romance, and Timothy Dalton’s vulnerable 007 – but it’s got problems, including ineffective villains, unnecessary comedy, and an overcomplicated plot. The Living Daylights: Recut aims to eliminate these problems.

A version of 'Dick Tracy' that's a little tighter, with more consistent characterization for Dick and Tess.

This episode could do with a nice spring clean.

There really isn’t a hell of a lot of point to the sexism deflection that this episode pads itself out with. Within the context of current history, I suppose there’s some fleeting relevancy, but Doctor Who ought to be timeless, and it’s characters should not be dragged down into political soap boxing, however subtle or unsubtle. This is what has killed the show for many a true fan, and as much as I still love the show, it does make me cringe a little too. It’s like attending a council meeting with your parents on a Sunday, reminding you of the real world awaiting you in the week ahead. What happened to weekend/holiday escapism?

A defiant James Bond heads back into the field to stop insidious cyber terrorist Sylva from exacting his revenge on M. Who will be left standing when the job's done?

Spectre was an attempt by Eon Productions and director Sam Mendes to embrace the grandiose nature of the Bond films of yesteryear, both in terms of the locales used, the scope of the picture and in bringing back the arch villain Blofeld and the Spectre organisation. Whilst it was wildly successful at the box-office, the reception on the film was very mixed. Some reveled in the large scale nature of the film, whilst others cited a poor script, lacklustre direction and a poorly executed idea of linking all the Daniel Craig Bond films together - not to mention the little controversial storyline regarding Blofeld being related to Bond as an adoptive brother.

Young Han Solo joins a band of smugglers on his first major heist and is introduced to Chewbacca and Lando Calrissian.

B+ edit number 3 is a light trimming of the excellent 80’s cult B-movie “The Hidden”. As per usual, the narrative is kept mostly intact, with light trims for pacing and cuts made in favour of removing poor FX, weak acting, trashy elements and misplaced humour. With only 4 minutes cut, The Hidden: B+ Movie Edition is marginally shorter, but considerably tighter, with a tone more consistent and suited to its higher tier script.

Even though I appreciated Mandys style and revenge story, I found it to be unnecessarily long for the genre and a little meandering especially in the first hour.

Anchorman 2, but funny. And 36 minutes shorter.

Crafted using a mixture of the Theatrical, Unrated, Super-Sized Version, and blu-ray supplemental material, the aim of this edit was to create a funnier, tighter film worthy of being a successor to the first Anchorman. Entire subplots have been removed, and jokes have been pulled from all commercially available material, resulting in a much more focused film and, in my opinion at least, a much funnier one as well.

The first half of BABYLON 5’s season 5 is dominated by the telepath story arc Phoenix Rising, where Lyta develops from a direction-less character on the periphery to a focused
key character. It's more enjoyable by making Byron less pretentious and a little less prominent. He is a catalyst for Lyta rather than a driving force in his own right. Other storylines in these episodes are unchanged.

Story structure remains essentially the same as the original 3 part tv movie. A few continuity corrections. The only significant edit/cut is the conversation between Adama and Apollo about going down to Caprica. Otherwise, the biggest changes are FX enhancement to many scenes (eg. adding planets to the background), replacing dodgy FX shots (eg. Cylon Basestar descending on Carrillon) or background mattes and making some of the battle sequences less repetitive, while trying to maintain the visual look of the original without going overboard with CGI.

Here is G'Kar's last tale. His performance is thoroughly enjoyable. As always. Originally much in Legend of the Rangers detracted from G'Kar's adventure. Not anymore. Now you can enjoy your favorite Narn in a solid story of exploration, intrigue, and humor.

Revenge of the Sith: Rebalanced is a fan edit of Episode III that sets out to attain the following goals:

1. Keep the best parts while trimming substantial amounts of droid slapstick, exposition, and bloated editing.

2. Shift Anakin's fall to the dark side away from Padmé, and toward Palpatine.

3. Learn from existing edits, use the best of their ideas, and fine-tune each and every scene.

4. Make as seamless and professional an edit as possible. So many fan edits have great ideas, but you can tell if the music is a little uneven, or if the rhythm of a sequence gets off balance. I wanted to create a version that you could watch without knowing anything changed. If an edit, however ideal, resulted in a noticeable glitch, it had to go.

I want to focus on the story of the Titanic in 1912 - not the additional story set to 1997, and the sinking of the ship. I want to focus on the humanity. I want to focus on the brutality. And I want to put the tragedy in focus. I want us to see how the people - not just Jack and Rose, dealt with the disaster, and how the rich felt for the poor, and how the poor felt for the rich. There is so much kindness and humanity along with the brutality of this story, and much of it is in the narrative already - but overshadowed by the focus on Jack and Rose. And much of it is in the deleted scenes already.

We explore one possible road to mankind's first encounter with extraterrestial life. Curiosity and the scientific method clash with fear, religion, and greed. Along the way everyone's beliefs are tested. The film is a tribute to Carl Sagan who spent his life popularizing scientific inquiry, who tirelessly championed the search for extraterrestial life, and who stimulated the awe and sense of wonder in all of us. The edit is about Dr. Arroway's personal journey more than mankind's journey. Her perseverance against the odds and despite resistance. Palmer Joss, the alien, and Mr. Kitz are less frustrating, and the last quarter of the film is greatly improved. As epilogue Dr. Sagan himself talks about Contact, science, and religion (audio excerpt from 1985 Studs Terkel interview).

This cut removes Azog as the main villain from the story. The side quests are also gone and the main focus remains on Bilbo's adventure. In addition most of the over-the-top action, violence and silly moments are gone, while still providing a functioning narrative.

This is a conservative fan edit that I feel greatly improves the tone and watching experience by removing a lot of the corny jokes and a few cheesy lines, and changing the color grade a bit so it isn't so oversaturated.

The Avengers and their allies must be willing to sacrifice all in an attempt to defeat the powerful Thanos before his blitz of devastation and ruin puts an end to the universe but this time with less jokes and possibly even less in the nearby future.

This edit removes all references to Bond being old. Instead, he is simply old-fashioned and off his game due to injury. Additionally, a new gun barrel sequence opens the movie, two scenes are rescored, and the Roger Moore-esque casino brawl is removed, among other changes.

This uses The Assembly Cut as it's base and introduces Theatrical Cut elements that I have a preference for. I also attempt to clean up the colour and contrast imbalances in certain composite shots. I also add extra FX for dramatic effect in places, to improve visually on the original or to technically facilitate differences in lighting between the 2 versions when using footage for the same scenes.

Inspired partially by a scene from the ending of the Superman II redux by booshman, this "fourth option" edit allows you to view the Donner cut of Superman II in almost it's unaltered entirety with yet another alternative outcome, one that does not include the time travel, amnesia kiss, or even the heartbreak of a Lois/Clark break-up.

BLACK PANTHER: WAKANDA FOREVER is a light edit. We see more of King T'Chaka and his brother early on, establishing the old king as a less idealized character. A glimpse of young T’Challa as contrast to Erik’s childhood. The weakest CGI shots are trimmed from the rhinos in battle and the climax in the mine. T'Challa at the United Nations is extended and placed before his trip to Oakland, giving it the weight it deserves.

Rekindled is a mostly conservative edit that attempts to improve The Last Jedi experience by trimming or removing some of the weaker sections. Canto Bight has been greatly condensed, Leia's spacewalk removed, and Rose no longer crashes into Poe, to name a few changes. It is always difficult to find the right balance between humor and drama, but this cut hopes to retain the lighthearted spirit of Star Wars while removing parts that distract from the story.

A dome, a doofus, an (annoyed grunt), experience Homer to the Max in this shortened take on the Simpsons movie.