All the interconnected Marvel Studios products become a massive, perfectly structured TV series, to make the journey of the Earth’s Mightiest superheroes the most epic adventure ever.

In order to enjoy the MCU in the most orderly, apprehensible and dynamic way possible, all the interconnected MCU becomes a TV show: reordered, reformatted, post credits scenes rearranged to avoid spoilers, detailed “previously” recaps created and some key deleted scenes added to each episode. Including all the One-Shots, Disney+ Marvel TV shows, Specials... even commercials! Plus, crossover with the X-Men (FOX) and Spider-Man (Sony) alternate universes in a narratively consistent way.

Star Trek " The Wrath of Khan without the recyled VFX from Star Trek The Motion Picture

Hal Ashby's classic satire with a few of the more distracting elements removed. Several scenes were removed and two were shortened, one sequence was slightly reordered (to accommodate the removals) and the end credits were reformatted.

I love the Hunger Games books, and I thought the movies were well done adaptations, but there were some aspects I thought could be trimmed and the pacing of the final movies improved. Originally I was going to leave the first two movies alone and just work on the last one, but earlier this year I watched MisterCooper's fantastic edit of the Hunger Games movies into an 8 episode miniseries. Because movies 2-4 were so connected the miniseries treatment worked really well. Mine is heavily inspired by his edit so please check out his if you're interested!

I don't want this to sound like I am bashing MisterCooper's edit because I really enjoyed it and mine is heavily inspired by his. But I did have some things I wanted to change, mainly around pacing, a couple story choices, and the music. Most of his series worked really well for me, but some of the pacing didn't feel right, such as starting his third episode with the last few minutes in the arena from the first movie. It felt anticlimactic to me to resolve the first movie in the initial ten minutes of that episode. His Catching Fire arena episode also ended up being a lot longer than the rest of his episodes, and while that isn't inherently bad I wanted to find a way to make the episode lengths more similar across the board. I also wanted some different story and music choices, such as my edit getting rid of most of the Gale romance from the latter movies as I thought it wasn't well done and didn't add much, and then keeping more of the original music from the series.

A fan edit that condenses Kubrick's film into a more feasable sub-90 minutes. This is the first in a series of Kubrick shortening edits.

Indiana Jones embarks on the story you love as presented in a less intense Saturday morning kid friendly way. Same plot, less pew pew, blood splat, face melting and nightmare inducing ghosts.

Indiana Jones and his father embark on the the quest to find the Holy Grail in this edit of the story you love with slightly less intense moments.

A faster paced version of Crystal Skull. Removed a lot of filler and bad dialogue and weird action sequences, but it still remains essentially the same story as the original.

I wanted to bring out the great film that was hidden beneath layers of exposition and bad jokes. I have trimmed many scenes to improve pacing, removed as much exposition as possible, removed the bad jokes, re-recorded dialogue for several characters, and adjusted the colours of the film.

"In the twilight of the 1950s, on one fateful night in New Mexico, young switchboard operator Fay and charismatic radio DJ Everett discover a strange audio frequency that will change their lives forever... "

The Vast of Night is a 2019 American science fiction mystery little film (a dialogue heavy one) premiered at the Slamdance Film Festival and acquired later by Amazon Studios for its streaming service. Despite being an interesting movie, it was too long and dull and required a good snip so that the benefits it contains could be truly appreciated, So it's shorter now, like an episode of an old mystery TV show.

Thor Love and Thunder arrived in cinemas to the sounds of raucus laughter, and the sound of footsteps as people walked out of the cinema, disgusted at what a blundering fool Thor had become. Whilst many people enjoyed Taika Waititi's unique blend of humour and emotion, There are many people who felt he had taken it too far.

Thor Love and Thunder Minus Comedy takes the worst of the comedy out and aims to focus on Thor's emotional journey, rediscovering love and accentuating the threatening presence of Gorr the god-butcher.

Thor discovers that Gorr is aiming to kill all gods and sets out on a mission to raise an army to rescue the abducted children of Asgard. It's not yet clear how this army will come about but on the way, he meets the enigmatic Zeus whose allegiances are never quite clear, and rekindles a romance with Jane Foster who has her own secrets.

Carlito's girlfriend Gail takes up a lot of screentime so I wanted to just keep the scenes that really needs to be there and cut the movie down for a better pace. To tell faster more streamlined story.

This edit gives the viewer the chance to experience and interpret the story as it unfolds rather than constantly being told what is happening and how to feel about it. Commodus’ actions alone are what shows us his depravity, and he actually acts upon his lust for his sister. Lucilla (the sister) is also depicted as a much stronger woman.

A Kill Bill Vol. 1 + 2 combo NO ANIME cut upscaled to 4K (also available in 1080p). Runtime 3 hours 45 minutes. The best Kill Bill has ever looked.

This edit modernizes the film with a new score and color grading. Downplays the preachy tone and reduce the characters over-verbalizing thoughts, fears and motivations, as if this were a stage play. Finally, it tighten ups action sequences and reduces dated VFX.

ZSJL was a major improvement to the travesty which occurred in 2017; however, Snyder’s 4 hour release was rushed in production and stuffed with significant filler. Releasing such a long cut, open matted, was probably more for production speed than artistic reasons. This cut re-scores, reduces, and rearranges this film for a more epic feel, with greater dramatic impact in a much shorter runtime.

In this edit the story now takes place entirely during 1918, the action sequences are much improved, young Diana receives a more serious portrayal, cartoonish comedy is toned down, and Steve is still funny-- but in scenes where it's warranted. This release intended to be Part 1 of a trilogy followed by my edits Son of Krypton and Justice League: Gods of Earth.

In this fan-edit all music in '2001: A Space Odyssey' has been replaced by the original music composed for the movie by veteran composer Alex North, with additional tracks from his back catalogue to fill in the scenes he didn't get a chance to write music for.

Shiochi Tsukioka and Koji Kobayashi, two scout pilots, make a horrifying discovery after Kobayashi gets stranded on an island: There is a second Godzilla! To make matters worse, he's brought along a new monster with him: Anguirus! When news of this revelation makes its way to the mainland, fear grips the nation. With these two titans of terror set on a collision course with Osaka, a counterattack is devised to lure the two creatures away. Will the counterattack be successful? Or will Japan have to face destruction at the hands of Godzilla a second time?

A group of obsessed movie fans of Summer 1999's 'The Blair Witch Project' head out into the black forest of Maryland to tour the sights and history of the legendary witch, which the movie was based on. After a night of partying and drinking, the group wakes up with a loss of memory and the lines between fiction and reality begin to blur... Is it a case of mass hysteria? or is there truly evil in these woods after all..

This edit turns the movie into a psychological thriller rather than a horror slasher, a night of partying and boozing slowly descending into madness and delusions. The movies plot will also now not be spoiled immediately, and all will be revealed within the last 8 minutes of the film, leaving the viewers in a state of shock and surprise - just as the director intended. This edit, unlike the theatrical cut will not spoil anything.