Ladyhawke has had a reputation of having mix feelings on the soundtrack. The general consensus is that the 80's Alan Parsons/Scott Powell soundtrack just hasn't aged well. Using the work of Jerry Goldsmith from the little known film "Lionheart", I have rescored probably about 95% of Ladyhawke using this timeless medieval fantasy score.

A fan edit that combines The Hobbit trilogy into one film that closely follows the book and also sits better with The Lord of the Rings film trilogy with regards to visuals / physics / combat. However, other than atmosphere, each story's tone and narrative will still be distinct without any forced references; the focus has been brought back to Bilbo's adventure with only a few subtle nods to the ensuing trilogy remaining.

This edit is a follow-up to my previous prequel edits, Faster More Intense and Sanded Down.

It's in some ways a bit more conservative than my other two prequel edits, and probably one of the more conservative Revenge of the Sith edits in general. While the first two prequels are movies I don’t enjoy because of their flaws, ROTS is a movie that I enjoy despite it’s flaws, I just wish it could be better.

Five Episodes. Five Hours. Five Edits.

There are quite a few Hobbit edits out there, and each one handles the original films in its own way. The Battle of the Five Edits is my attempt at creating something akin to a "Greatest Hits" Hobbit edit. I have taken all of the "best" elements and ideas from all those other Hobbit edits and combined them into One; cutting, rearranging and replicating portions of them in any way that I felt added to the enjoyment of The Hobbit as a piece of visual media.

The Amazing Spider-Man 2 rebalanced, with deleted scenes added, motivations strengthened, pacing & structure improved, and plotlines that distract from the main conflict removed.

As a big fan of the out of order structure of Tarantino's scripts I always wanted to recreate his original vision of this film. But some deleted scenes play a big part in his version and they were only available in pretty low quality. The special edition Arrow released recently brought the scenes still in SD but upscaled to 1080p, so the blend with the official HD footage wouldn't look too jarring. And of course, Tarantino's original ending was reinstated, which I always preferred anyway.

Halloween 5: The Haddonfield Harvest takes H5 and tries to strip it back down to basics while also adding back footage not previously seen in any version of the film. A new opening, unused gore and more, feature in THE HADDONFIELD HARVEST!

Carol was disliked by many including me, a girl. Didn't feel like a positive feminist role model. I wanted to see something I could relate to better. so....
This is a story all about how, an amnesiac Kree Starforce operative with mysterious powers, discovers her true past and slowly learns that her emotions can set her free from the shackles of those she once considered allies.

Inspired by what we know of earlier versions of the film, with my own preferences injected, this is an extended and resequenced version of Batman Forever.

Jaws 2 has been called a competent yet unnecessary sequel - and in many ways that's certainly true. However, I've always loved the film, almost to the same degree of Spielberg's original masterpiece. In my eyes, it doesn't even need a fanedit, but I thought the opportunity was there to present a streamlined, fun and dare I say more powerful version of this great sequel.

Get more tension built up in this and add a few more deaths to try and make the 2 movies feel more in line with one another.

It's been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie and her estranged family now face a terrifying homecoming when "The Shape" returns to Haddonfield — but this time, she's ready for him.

Tony Benedict receives a tip from the Night Fox fueling his revenge on Danny Ocean and his team.

Diana kept fighting after the events of her first movie in smaller, more hidden humanitarian ways, even though she gave up hope in mankind as a whole. We do not find her in the 80s anti-social and still brooding about Steve this whole time. Instead she is a confident hidden hero, who happens upon a chance that brings him back, and she realizes AGAIN how much she lost. This movie becomes the reason she still thinks about him in the present day JL movies. She was over him in that she knew he was gone the first time, only to have him come back for a while and let him go again. She essentially gets PTSD from this experience, instead of just being lovesick for the full 100 years. (Also, Steve is not inhabiting anyone else’s body in this edit.)

WW84 also should have dialed up the 80's soundtrack. Bill and Teds was shot in '87 and released in '89, so I already knew I couldn't lock myself into ‘84 if I wanted to mix the soundtracks. Bill and ted's gave me tons of source material to work with, but I needed more, so since Bill and Ted wanted to work with Van Halen, Van Halen leads the additional songs needed. There is also Judas Priest, Pat Benatar, The Expressions, Killing Joke, Vangelis, Oingo Boingo, Def Leppard, Scorpions, Harold Faltermayer and Kenny Loggins.

The Snyder Cut and the Theatrical Cut, mixed and blended to create a theatrically viable version of Justice League.

- Replace the majority of the music with music from other films in the series.
- Up the pace. This movie has a weird structure in that there really isn't a big action scene till almost halfway through the film, and then it's just non-stop action for the second half. The middle third of the film needs some serious trims to get the film moving.
- Remove a lot of the over the top John Woo moments. I love John Woo, and I definitely still want it to feel like a John Woo film, but they go so hard on some of his trademarks that it ventures into parody. Slow motion scenes that drag on or show the same shot from 5 different angles will be trimmed. Some of the slow-mo will be trimmed just for action pacing.

The original adaptation of the concise graphic novel had added material to "pad it up" to a feature length running time to justify the price tag of a DVD or blu-ray. Unfortunately most of the added material is garbage. This removes almost all the added material and restores this to a proper adaptation of the graphic novel.

Star Wars: Abridged is meant to tell the Skywalker saga as succinctly as possible, taking all nine films and cutting them down to three. While many narrative threads remain the same, some have been vastly altered.

Jurassic World is my second favourite movie in the Jurassic Park franchise but I personally find it flawed in several ways.

The Incredible Hulk: Struggle for Control aims to fit better in the MCU. Informative exposition from the deleted scenes is added, while trimmed for pacing. It shows more of Banner and Ross' motivations, less Betty, less close-up CGI Hulk, more Doc Samson, and more SHIELD:
- Several deleted scenes are added (back) in that add depth to Banner and Ross' characters and makes their motivations clearer. E.g. Banner trying to shoot himself in the opening scene, and Ross saying "He wants to get rid of it. [...] I want what's inside of him."
- Betty in Hulk (2003) was a plausible scientist working with genius Bruce, who showed a strength of character consistent with the comics. Disappointingly, 2008 Betty shows neither. Betty's aspirated one-or-two word lines while staring in the middle distance, suggest that she's constantly at a loss for what to do or think. She is trimmed to look less clueless.
- The CGI is frustrating. The Hulk's steroids-ripped body looks less real than Hulk 2003 and repeatedly fails to inhabit the space it's in. The close-ups look the weakest. They got trims when their bodies failed to convince.
- Fleshing out Doc Samson's character helps to flesh out both Bruce and Betty's. Also, I find the perspective interesting to see how an ordinary human responds when a super-powered person enters his life.
- SHIELD's presence reaffirms the continuity within the MCU. Added to their minor mention in the film is Marvel's One-Shot "The Consultant" as post-credit scene.

Main Changes:
No V.O. - "Show, don't tell" philosophy (try to give more discovery of mysteries to the viewer) means no voiceover at all - not even the memory voiceover from Gaff as Deckard looks at the origami unicorn. The goal is to tell the story with the emotions of the characters instead of spoon-feeding info.

No Unicorn Dream - For me, the "Deckard is a replicant" question is more interesting as an open-ended question than the execution we got, so no unicorn dreams here. The audience today is much more aware of the tech and concepts of the movie than the average 80s viewer, so the movie keeps the original spirit but leaves more dots to connect for the modern viewer.

More Pollution - I love all the new higher Res releases of Blade Runner, but to me the better resolution removed a lot of the gitty pollution-like vibe to the world of Blade Runner. Here, the outside scenes are adjusted to feel dirtier, which also allowed me to insert upscaled footage of deleted scenes that hopefully stand out less.

No Dates - all references to the year dates are removed.

No "Trapped Rachael" Scene - I know I am going to get hate for this but there is one particualr part of this film which has not aged well. People like to say this movie is about replicants because of Roy Batty and crew, but simutaneously write off how utter fucked up Rachael's experience must be too, arguing that the scene is needed to show an aspect Deckards growth in regards how he treats replicants, how he fundamentally sees them.

An Irish terrorist seeks revenge on Jack Ryan and his family after the death of his brother at the hands of Ryan.

The Star Trek TOS episode "That Which Survives" in a version that gets Spock, who's wildly out of character here, in line with his portrayal in the rest of the show.

Shortened to 133 minutes, focused on action and main plotline, with most of the character backstories removed or significantly shortened, this version relates heavily to 70s aesthetics but is not limited to it. The movie got used, damaged look and most of the music was replaced with some 70s (but not only) funk, rock, and cues taken from another movie soundtracks and some TV series themes.

This edit is based upon the straight chronology of the Theatrical Cut, interweaved with much of the Final Cut’s additional material. I also excised anything that insults audience intelligence or prevents this film from being the sweeping, ever-moving-forward epic it so desperately wants to be.

Remixed version of Zack Snyder's Justice League is 47 minutes shorter, restructured and reframed to 2.31:1 with some theatrical additions and new opening credits sequence based on "Motherbox clip". Some scenes has been rearranged - for example: Bruce Wayne starts searching for Aquaman after the "history lesson" and we meet Flash earlier. Most of the sequel baits present in official version are gone, also removed are many scenes which were not necessary to keep the plot going. Movie ends just like theatrical cut without extended epilogue.

With over 900 changes this is the ultimate fix. Two F Bombs remain

These two movies turn Star Trek Picard into two classic style Trek Movies with a 3 act structure and many hundered of changes, scoring tweaks, and much much more

This puts back the original ending that preview test audiences saw, upscaled and improved.

This divisive little piece of now-obscure Superman media was released around the peak of marketing for Superman Returns. It's been widely criticised by fans of Superman: The Animated Series for, amongst other things, inconsistent continuity and characterisations (particularly with Lex Luthor) as well as bait-and-switch storytelling revolving around Clark wanting to share his secret with Lois Lane.

Many fans were disappointed that this film felt more like an Elseworlds tale and not an authentic 'bridge' between Superman: TAS and Justice League.

I've gone back and forth on whether or not I should do this for a while, but recently I watched a pretty good 50 or so minute version of it from an editor called Fanedit895. This version realized the potential of the story by rearranging scenes and deleting all sequences with Lex Luthor to avoid even touching on his characterizations, as well as removing the bait-and-switch so Lois knows.

So impressed was I that I decided the time had come to tackle this head on myself, but I wanted to set it apart from what this editor had managed, and have decided to try to cut it down to a TV episode length.

The edit went through several versions, and, through consultation with both Fanedit885 and FE.org's very own MusicEd921, the version available here was finally cranked out. It's fascinating to see just how much good was buried under all the more unnecessary stuff and that you can edit this in a number of interesting ways.

The Shadow Knows celebrates the gorgeous sets and costumes (using the Shout Factory blu-ray as source) and Jerry Goldsmith's score (adding cues from the Intrada CDs). Ying-Ko's backstory is shown through three dreams, letting the film open in medias res on the bridge. The dreams build up in awfulness: recurring reminders of his ruthless past.
One of the most influential and long-lived pulp characters, The Shadow has been a radio drama host/character, the hero of 325 novels, and has appeared in comics, TV shorts and films since 1930. Building on Walter Gibson's stories from 1939-1940, The Shadow fights his nemesis, Shiwan Khan, who plans to take over the world by holding New York City to ransom with an atom bomb. Using his power "to cloud men’s minds”, the Shadow comes to the city’s rescue with guns blazing.

"Avengers Age Of Ultron is a little more grown up than the first one, a little scarier, a little funkier." Joss Whedon.

THAT WAS A LIE! The goal is to keep that original promise. Removing the worst of the humor, creating a threatening villain and tightening up the pace of the final act, transforming the movie from an underwhelming letdown into a worthwhile sequel to the original.

As an adult I have never felt a ton of love for due to the outrageous color scheme, and the makeup fx were always downright nuts to me as well. Its amazing that this came out the year after the first Burton Batman movie - its a complete ripoff, blasphemous in retrospect really. I can't believe I didn't notice back then it was THIS similar to the Batman. Hindsight is 20/20.

But I was amazed at how I could actually appreciate everything in this movie without all the color - even the makeup isn't quite as bad - it seems like THE PERFECT movie that a Young Bruce Wayne would have watched. There are so many similarities to Batman, besides of course the Elfman soundtrack: Big Boy seems like a hybrid of the Joker and the Penguin, Dick Tracy seems like Batman if he were a cop, the "Kid" is basically Robin. Elliot Ness similarities, sure, but this is a superhero before there were superheroes. Its so weird how much this copies and tries to be a prequel. I don't think I noticed before with all the color and ridiculous makeup. But it also hit some pretty iconic "noir" beats too.

Main Changes:

• B&W

• More noir vibes, more adult focus. Tracy edited to have a bit more confidence, less doubt, except when it comes to women.

• Original songs trimmed when the narrative allows, Miles Davis added where possible.

• Removed excess shots of bad makeup.

• Lots of dumb lines removed or edited for pacing.

• Big Boy lines are trimmed to seem darker and more menacing, less of a parody.
(That worked well for a while. Then, he had a few jokes that landed that I couldn't remove. So Big Boy starts off more menacing, but I let Pacino off the leash after a while.)

...

Frank Miller's Dark Knight Returns is the key graphic novel that modernized and re-energized the Batman character in 1986. Previously, most people knew Batman only from the colorful 1966 TV show or the silly Superfriends cartoons. Of course, many other artists have contributed to Batman's evolution throughout the years, such as Alan Moore, Neil Adams, Jim Aparo, Denny O'Neil and Dick Giordano. Without Dark Knight Returns, however, Tim Burton's Batman or any of the later movies wouldn't have existed. Basically, the character of Batman is what he is today thanks to Frank Miller's masterpiece.

In 2012, Warner released an animated adaptation of the graphic novel which was completely misunderstood by the creative team. Many of the things that made the graphic novel great were ignored or re-interpreted poorly. The first offence they committed was to divide the story in 2 chapters instead of the original 4, thus they had to reorganize the structure to make that change work even if it was nonsensical. Other changes made that didn’t make sense include: introducing the Joker as a drooling idiot; the bright-as-day action sequences with Batman in kung-fu fights that lasted comically long; the awful narration that replaced the tortured inner dialogue from the graphic novel that made it seem like Bruce Wayne was senile, etc. The list goes on and on.

I added several deleted scenes and promos to provide more time spent with the humans (and androids) and removed several scenes and appearances of the aliens either because I didn't find the CGI convincing or felt excessive screen time diminished their impact.

The 1979 SUPERRMAN: THE MOVIE was plagued with issues during production leading to many changes which resulted in two films being released (Superman and Superman II) which significantly differed from what was originally intended; a single epic movie. As money ran out the producers changed the end of SUPERMAN to the film we now know. This now is as close to the original structure, no turning back time, no Lois gets squised, as you can get. The cliffhanger lead in to SUPERMAN II: The Donner cut or the forthcoming SUPERMAN II Extended .

An improved preservation of the The Godfather Part 3 Director's Cut using La Coda color grade as the basis, with extra stuff too.

Return of the Jedi: Possessed is edited to be closer in tone and pacing to the classic Episodes IV and V. The story beats and plot are all the same, but it is less silly, campy, and cheesy.

James Bond, in Brosnan's second adventure, is as much a boy with toys as he is a dinosaur from the Cold War. We meet media mogul Carver who will push countries to war if it sells more newspapers. After Bond secures nuclear missiles in the outstanding opening sequence, he finds a GPS encoder and an ex-girlfriend. The trail leads him to Asia where he teams up with Chinese spy Wai Lin. Together they must find a stealth vessel and stop the UK from declaring war on China.

This fanedit restores K.D. Lang's song to the opening credits (Sheryl Crow now plays over the closing credits). The edit is faster paced, with fewer lame jokes, less wooden acting, and fewer machine guns.

Star Wars: Abridged is meant to tell the Skywalker saga as succinctly as possible, taking all nine films and cutting them down to three. While many narrative threads remain the same, some have been vastly altered.

The Godfather, The Godfather Part 2 and 3 are monumental masterpieces. This Godfather Magnum Opus will over two movies restore all available HD material to a total run time of 602 min. A few minutes never seen in HD, making it the longest possible chronological version ever seen and UNCENSORED! PLUS, the original ending of Part 3, which MUST be in full and not truncated as it was in Coda, has been restored (together with the 14 mins removed from Coda).

The Amazing Spider-Man 2 in the simplest and most cohesive structure that it can be.

TASM2: Spark of Life goes far to re-edit action sequences with new and extended shots to allow a clearer perception of events, cut a lot of the unimportant subplots out (Parker Parents, Aunt May, Oscorp/Rhino/Sinister 6, Plane Crash, etc.), adding portions of deleted scenes back in, refocusing the story on whats important, and overall trying to bring some closure to a duology that tried to be a franchise.

Star Wars: Abridged is meant to tell the Skywalker saga as succinctly as possible, taking all nine films and cutting them down to three. While many narrative threads remain the same, some have been vastly altered.

Once Upon a Super Duper Deadpool 2 differs from the original source simply because it has two additional versions of the movie interwoven with it.

With a shorter runtime, cut awkward jokes and poor VFX shots, and improved monster effects compositions in the finale, RePlucked offers a tighter, cleaner, better version of Willard Hyuck's 1986 film.

Moonraker is the film that famously sent Bond to outer space. After the success of The Spy Who Loved Me, the producers wanted to go one step further and go even bigger. That, combined with the obvious influence felt by successful films like Star Wars and Close Encounters of the Third Kind, led to one of the most successful but divisive films in the series' long history.

SULLY: MIRACLE ON THE HUDSON (2016) as directed by Clint Eastwood is an amazing film. The original movie focuses on the crash investigation and the political blame game, while exploring Sully's background and the actual Miracle Landing through multiple flashbacks from different points of view. The intent of the 155 Fan Edit is to remove all of the investigation storyline and just show the Miracle Landing in a single, linear narrative.

It's the same classic edit of Attack of the Clones by the Phantom editor, but now presented in HD!