Sourced from the recently released 4k UHD Blu-Ray extended editions, this edit is fairly light. I love the epic feel of the LOTR movies, I just didn't appreciate Peter Jackson harnessing his inner Lucas by going Star Wars Prequels on these films.

Sourced from the recently released 4k UHD Blu-Ray extended editions, this edit is fairly light. I love the epic feel of the LOTR movies, I just didn't appreciate Peter Jackson harnessing his inner Lucas by going Star Wars Prequels on these films.

Sourced from the recently released 4k UHD Blu-Ray extended editions, this edit is fairly light. I love the epic feel of the LOTR movies, I just didn't appreciate Peter Jackson harnessing his inner Lucas by going Star Wars Prequels on these films.

• Less populous motivations throughout, more focus on the current problems being a result of the lie that Bruce and Gordon created.
• Bruce is not old and hurt at the beginning.
• Countdown to Core Meltdown Timecodes added to Bruce's scenes in the pit to spread out the timing of Bruce's recovery.
• Bruce dies at the end.

This edit creates a narrative that focuses on Trust and provides a way for our heroes to live beyond the final conflict.

With reduced bloat, some light resequencing and a complete colour regrade to lighten everything up I present to you a leaner, more focused and utterly unique space opera from the minds of the Wachowski's.

James Bond's 1999 adventure, The World Is Not Enough, is a mixed bag. Interesting ideas and a largely coherent plot, buried under an overdose of 1990's action flick, Roger Moor-ish one-liners, and too much effort to misdirect the audience as to who the main villain is. Brosnan plays Bond much closer to Daniel Craig's roughness than to Roger Moore's suaveness. But he's given so many cheesy Moore lines that this Bond feels tediously immature. This can be improved!

The Contacted Edition used the best material from all three official cuts, along with a few unique changes and trims, to try and craft the most satisfying version of Close Encounters.

An edit of an almost perfect X-Men film that adds the best of the official Extended Edition to the Theatrical cut, while also trimming and cutting bits and pieces here and there. A few jokes, lines, Mystique moments, breaking of the time-travel rules and the ending have been cut and changed from the film as to better the overall story and narrative thrust.

This is for the most part a hybrid of the various versions of Empire Strikes Back, bringing out the best in each. However, there are also a few original changes that aim to subtly modernize the film and bring it in line with the saga, but without changing the tone or feel of the original version. Some improved visual effects, a remastered sound mix, and improved color grading as well as one or two cuts.

To create two Hobbit movies I would want to watch over and over as a TRUE prequel to The Lord of the Rings

To create two Hobbit movies I would want to watch over and over as a TRUE prequel to The Lord of the Rings

Hercules in the Maze of the Minotaur without the clip show sections! The TV movie is reformatted as a new first episode for the first season of the series (to precede The Wrong Path), in both regular and extended versions.

Goals:
On first watch I loved this movie, so I didn’t change much... just to fix that ending, and to make the end more in line with her character in BvS - that these heroes are awesome but mankind is questionable.

Main Changes:
• Distance this version of Wonder Woman’s origin story from writer Azzarello's New 52 retcon where Wonder Woman is the child of Zeus and Hephaestus, restoring Wonder Woman's made-from-clay origin in the end.

• Make Diana seem less naïve about some basic things like marriage and hand-holding.

• Diminish the role of Dr. Poison to simply a lackey of the General, so her Act 3 disappearance less important (Dr. Poison falls into the easy trope that suggests disability — and in this case, specifically facial disfigurement — means that a character is evil. We never find out Dr. Poison’s backstory and whether her facial scarring caused her to become a villain or happened after she already was one, but the message is the same- we should be afraid of people whose faces and bodies are different from our own.)

• Remove much of the exposition and the Dr. Poison confrontation from the final battle.

• Avoid the strange paradoxical elements from the final Act (i.e. soldiers hugging after the defeat of Ares.)

• Make the end of WW less optimistic, more in line with MoS and BvS that these heroes are awesome but mankind is questionable.

(All three movies generally focus on the inherent nature of mankind.)

Main changes:
• Remove the Africa incident and change public reaction to events of MoS.
• Better establish the classic Kryptonian boy scout in the first Act.
• Remove Batman killing people (he still “lets” bad guys die, but doesn’t kill outright)
• Refine Lex into a better villain – less weird, more obviously paranoid, less daddy issues, more calculated (i.e. making doomsday as a backup plan more understandable.)
• Clarify the conflict the world has with Superman – its all about fear.
• Batman doesn’t actually see the future, does not see the Flash
• Change Batman’s moral return to be prodded by fear and the similarities to his parent’s killing - not the realization that their mothers have the same name.
No foreshadowing of Superman’s resurrection.

(All three movies generally focus on the inherent nature of mankind.)

This Man of Steel edit tries to keep the spirit of the original movie, but also find the classic hero inside - to make Clark more like “the noble Superman I grew up with” (yes I am aware how extremely subjective that is).

Its about a confident hero, with boy scout morals almost to a fault. He is confident in his actions but remains hidden from the world due to his personal choice. With the arrival of Zod, Clark Kent must finally reveal himself. This is not an origin story, although his origin is retold. This is about the confident kryptonian boy scout we all recognize, and we watch as Zod forces Clark beyond his limits to save his adopted world.

Main Changes:
• Krypton prologue now begins at Kal’s launch
• Credit sequence from the great Man of Steel: A Symbol of Hope from TM2YC
• Pa Kent doesn’t die for his idea, nor does he tell young Clark that he might have to let people die.
• Bus incident moved to replace tornado incident, focus on “people afraid of what they don’t understand,” which is then re-emphasized by Perry and then again by Martha
• Suit reveal moved to after discussion with priest to emphasis Clark’s overall decision to officially reveal himself to the world.
• Innocent bystanders that might get hurt are removed as much as possible in Smallville battle as well as in Metropolis battle.
• Clark contemplates the aftermath of his battle with Zod on a mountaintop with the memory of Pa Kent.

**2022 Update**
Clark's first flight has been added back in.

Trim the wandering around alone and the Morlocks. While perfectly unsettling and terrifying, befitting works by Hitchcock or Serling in 1960, they don’t work as well if you already know that he is going to meet people and creatures. The point of the story is the idea of the time machine and time travel, not the action/horror story of a square-jawed hero rescuing a blonde damsel-in-distress from scary monsters.

The Hobbit: Fire and Water is back with much more changes big and small. This is the definitive way to watch this fanedit.

The Arkenstone Edition by Kerr with Chris Hartwell's mystery angle and some added dwarf moments.

The same Spider-Man: Homecoming you love with a pinch of added responsibility.

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.

Star Wars: The Rise of Skywalker gets an overhaul to serve as a conclusion to the Star Wars saga. Pacing, character journeys, and story continuity are improved via an unprecedented fan editing collaboration. A layer of polish and care applied to a relentlessly fast-paced film. Subtle character tweaks. And a few new surprises.

(Also included is a ‘Rey Nobody’ alternate version that removes her family connection to Emperor Palpatine.)

My first fan-edit deserved a new look since the original movie was finally released at a considerably higher quality on Blu-ray in April of 2020

As an avid golfer, there are some great golf moments in this movie. There is unfortunately an over-the-top “80s romance” too, which hasn’t aged that well. My editing goal is to focus on the golf.

In this new version, Molly is edited to be “less damsel-like” and seems smarter, more confident. And the golf gets the highlight it deserves with this new upgrade to the film quality.

When I was preparing the cover art, I found an awesome set photos with a monotone color grading that has a cool blue tint. I loved the way the photo felt classic and special. The set photos felt almost “Rat Pack” cool. I love the original movie and especially the new HD release, but the overall color saturation and obviously dated technology made it feel dated as well IMO. So I dove back in and tested an idea.

Personally, I love the new “cool blue noir” look. The footage feels more timeless, and the old technology isn’t as distracting. The fashion looks less distracting too, allowing to focus on the golf.

Both the "Timeless" B&W version and the original color version are available.

These two edits (ALIEN V rt 132min and ALIEN COVENANT:EXTENDED CUT rt 154 min) restore the three act structure by creating a new first act from supplemental and deleted material. There is also a new Coda, tightened up restored scenes to develop character and score and audio enhancements to give it a more A L I E N feel all over.

Main Changes:
• Remove and much “Comic Book” exposition as possible
• Hide Dr. Staple’s POV and motives until Kevin is shot (to make her seem synonymous with the public view of these people)
• Remove Dr. Staple trying to work with Casey to save Kevin (the Black Clover Society simply plans to kill him)
• Keep the question about the validity of the Kevin and David’s superhero claims in question as long as possible
• Changed the ending to make Mr. Glass the cause of the worldwide video release

We focus on Kirk's storyline entirely until he finally meets Hodin and realises he is on a replica. Thus, we – the viewer – follow Kirk's story, and don't discover the truth until he does. This is one of the few episodes where I think doing something like this actually works, since the twist pays off nicely in an otherwise pedestrian episode. To me, it's probably the best way of attempting to gain something decent out of the episode – by having the reveal of the replica being a fake as much a surprise for the viewer as Kirk. Really, very little is lost by removing the bickering between Spock and Hodin, and we don't need to necessarily know how Spock eventually managed to beam down.

The story of 5 friends form Erie, PA who find themselves on a journey of wonder as they rise the charts doing that thing they do.

Superman - Last Son presents 2013's Man of Steel in a more linear, less bombastic manner that focuses more on character development and plot progression.

Wonder Woman 1918 is an entirely new experience from the 2017 original, with tighter pacing, a better climax, and zero connection to the larger DCEU.

Goal:
• Remove as much unnecessary exposition as possible. The last time something is explained, it’s the only time.
• Removed Enchantress Hip-shaking, connect her plans to the larger DC universe
• Less Joker focus and dialogue
• Reveal the team organically, without introductions

This edit cuts 37 and a half minutes reducing the run time from 1:40 to 1:02:27 and jumps straight into the action leaving a tighter paced, less sentimental film about a boy having to brave the savage wilderness to to save his life and the life of his father.

The addition of various scenes from The Extended Edition from the Collectors 2 disc set, brand new shots, expansion of surround sound fidelity where possible, additional sound design, trimming of various original elements and a re-scored and re-edited finale. There has also been extensive repair, re-composition, grading and clean up work put into the project.

In CAPTAIN MARVEL - IT’S 1995 ... YonRogg appears a good guy longer, so we're not yelling at Carol for half the movie that “He's lying to you!". Their rescue mission is clarified. The Skrull memory-machine is more straightforward because you can't make memories on the fly. That’s not how remembering works! No AT&T joke. An extra moment of Coulson and Fury. The mid-credit scene is cut and offered as a separate clip, so you can watch this movie before Avengers 1 and not yell "Oh come on! I didn’t want to see that yet! I first want to enjoy Avengers 1 through 3."

The main changes were to remove weak lines, several unnecessary scenes and subplots, political references, comedic relief, and cliched moments such as villains acting too slowly. The physics of flying humans was improved, several side characters reduced, and main characters made a little less cliched, especially Thade. Scenes were tightened to improve pace.

Chronological cut, without the Ace Chemicals plotline. Harley, now more of a known entity, is discovering the protections afforded under Joker are slipping away. We meet Harley as a spoiled drunk, still milking the privileges of being Joker’s girlfriend, so her personal growth seems bigger from basic piece of shit to possible new anti-hero. The rest of the major characters are introduced sooner, and Sionis’s displays of sadism ramps up more progressively until he dons the mask.

A tighter, more focused story of the reluctant heir to the kingdom of Atlantis, now with much of the unnecessary exposition as possible removed, Depeche Mode and Pitbull songs removed, "Ocean Master" references removed, and as many plot holes as possible removed.

A tighter, more focused story of savvy criminal defense lawyer, known for doing the right thing for the wrong people, who decides to use his connections for some quick cash. But the House always wins in the end.

There are some great scenes and monologues in this movie that I wanted to highlight, and some terrible acting and monologues I wanted to remove. For MANY reasons, I ended up removing the whole Malkina subplot and kept her to a simple strong woman that was to intimidating for Reiner. Then, there simply wasn't enough character development (with good writing) for any of the women IMO, so I ended up focusing on the POV of the Counselor mainly, removing most all the scenes without the Counselor or Reiner involved. With a tandem story of the drug shipment's journey from Juarez to Chicago.

This edit featured a restructured narrative and 9 reinstated deleted scenes

Danny Madigan is a huge fan of Jack Slater, an action hero played by Arnold Schwarzenegger. When his best friend, Nick the projectionist, gives him a magic ticket to the newest Jack Slater movie, Danny is transported into Slater's world, his number one hero where the good guys always win. It's a dream come true for Danny, but things take a turn for the worse when one of Slater's enemies, Benedict the hit man, gets a hold of the ticket and ends up in Danny's world. Slater and Danny must join forces to stop him at all costs before it'll be the end of Jack Slater.

The Enemy WIthin cuts over 20 minutes from the film, and adds back a selection of deleted scenes from the trailers as well as the official Editor's Cut, and trims various lines and subplots. Sandman is no longer Uncle Ben's killer, cheesy scenes and moments are gone, creating a much tighter and potentially darker film.

Swing by for a fresh ride, as Spider-Man 3 is cut down into the best film it can be.

Once upon a time... in the Golden Age of 1960s Hollywood, Rick Dalton (Leonardo Dicaprio), star of hit TV series such as “Bounty Law”, along with his stunt double Cliff (Brad Pitt) is on the downtrend, his failure
of a glamorous film career has left him with nothing. His self-confidence isn’t helped by superstar Sharon Tate (Margot Robbie) moving in next door to him. But when he gets the opportunity to work on another tv western,
Rick is going to prove to Hollywood and himself that he still has what it takes. And the best part is there is no pointless Manson Family Sub-Plot to get in the way of that.

Tree is a blissfully self-centered collegian who wakes up on her birthday and gets the eerie feeling that she's experienced the events of this day before. When a masked killer suddenly takes her life in a brutal attack, she once again magically wakes up and must relive the same day over and over until she figures out who murdered her.

A Dugnutt Cut aims to trim a few poor jokes here and there and shift around some scenes to create a greater emotional climax in the conclusion of the film. It's not too heavy of an edit as the film isn't too bad, but I feel its a much stronger film .

Something has gone wrong in a research facility on Mars, and the staff are becoming something unimaginable. All research has ceased and the facility has been placed in quarantine. Dr. Samantha Grimm have called in an elite squad of soldiers led by Sarge and includes Samantha's twin brother, John Grimm. No one is safe inside. As the team advance through the facility, and as they are picked off one-by-one, Dr. Grimm has one question: What exactly has caused this?

This edit of Scarface is more of an action movie type film differing from the originally film majorly. In this edit i also remove one of the main characters in this film which is Elvira played by Michelle Pfeiffer

Set between episodes 5.21 and 5.22, an archeologist (Ian McShane, before Deadwood fame) searches Eternal Life, financed by Edgars Industries. During his quest he finds and keeps a glowing orb. A Soul Hunter (Martin Sheen, before West Wing fame) is tasked with returning the stolen orb. They meet on Babylon 5, and the fates of the station and an entire civilization hang in the balance. Also starring: the holo-brothel!

Thirty years previously, Clifford McBride led a voyage into deep space, but the ship and crew were never heard from again.
Now his son Roy, an emotionally closed off Astronaut, must travel to the outer edge of the solar system and uncover the truth about his missing father and a mysterious power surge that threatens the stability of the universe. Will Roy find out what it means to be human out there in the Heart of Darkness.

Teenagers that are all neighborhood friends begin having the same dream of a horribly disfigured man who stalks them in their dreams. The teenagers discover that they all share a common link from their childhood that makes them targets for Krueger.

Tighten the editing film, remove the silly bits, replace the Bill Conti score with classic John Barry music from other Bond films.

Part Special Project/part Fan-fix of a Hitchcock classic, this edit favours the parent's perspective with an aim to keep the audience just as much in the dark. Cuts and trims for pacing have been made with the modern viewer in mind, along with the removal of unnecessary exposition and awkward humour. The intro, outro and Albert Hall sequences have also been re-scored with more recent and polished recordings (original audio also included).