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).

Jason Voorhees returns with a new look, a new machete, and his same murderous attitude as he is awakened on a spaceship in the 25th century, once awake Jason begins killing the students and crew of the ship.

The character of Joi no longer exists (I thought about naming this edit the Joi-less cut)
K no longer thinks he is Deckards child
Trim for pacing where possible

A View to a Kill is often classified as Roger Moore's one outing too far - in other words, it's the Bond film where he's too old to play the part. However, that in itself has never bothered me - why can't we have an older version of Bond anyways? But there's little doubt that A View to a Kill is not a perfect Bond film. From the ill advised use of the Beach Boys song "California Girls" during the opening ski chase, to the over use of sexual innuendos which even for Moore are a little too much, to the inconsistent quality of editing and choreography for some of the fight scenes, there's still plenty to fix here for a faneditor.

Main aims:

#1 Reorder the narrative
#2 Reinstate several deleted scenes

#1 'Thor: Odinson?' is an attempt to maintain an air of mystery around Thor and leave the audience to question whether he truly is the son of Odin. In the original when Natalie Portman finds Thor in the desert she questions where he came from leading the viewer to immediately be shown Asgard in all its glory. This edit will delay that reveal until Lady Sif and the warriors three arrive on earth effectively switching the first and second act.

#2 There are some wonderful deleted scenes which add development to both Thor and Loki. I reinstated two deleted scenes in this edit.

After escaping her brother Michael Myers, Laurie Strode relocates to California and takes on a new identity. 20 years later, Michael returns to finish what he started.

This version of FREDDY vs JASON restores several deleted scenes, removes some over-the-top comedic moments, fixes mistakes and brings the movie closer in quality to the best installments of both classic slasher franchises.

A group of college students have decided to spend a night in the infamous Myers house as part of a reality show. Unknown to them Michael Myers has been living in his old house, now locked in the house and being picked off one by one, everyone fights to survive the night with Michael Myers.

A version of Scream 4 that can sit next to the original trilogy without feeling like a decade late addition. Both the multiple beginnings and multiple endings have been either revised or cut altogether. Sloppy, hammy dialogue or lines poorly delivered have been cut wherever possible. A version of Scream 4 that can close out the franchise for good.

This cut concludes the story of the Definitive Anti-Cringe Cut of The Last Jedi. It removes plot points that go nowhere, reduces character appearences that do not move the story forward and changes the fates of key characters in the saga, once again providing some surprises for viewers of the original film.

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.