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, reinstating all the removed material with extra new opening in HD.

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!

Major Changes:

• All scenes that show a digitized young "real" Kevin Flynn are removed. Clu is the only one to wear the Young Kevin face.

• Scenes in the real world are extremely trimmed – we are in the world of TRON by the 11th minute of the movie. No sequel bait, no franchise seeds.

• Terrible dialogue is trimmed wherever possible to remove the cringe factor. (Lots of “whats his problem” and “now this I can do” type stuff.)

• Quorra is edited to be less the "born sexy yesterday" trope (a woman defined both by her immense sex appeal and her intense childlike naivety, a figure created almost entirely to be leered over or as a prize to be won by the male protagonist.)

• The “infinitely wise and infinitely naïve” aspects of the ISOs, and that they will “CHANGE THE WORLD,” is downplayed. Kevin simply feels responsible for her life, teaching her and protecting her, like the father he SHOULD have been to Sam.

• Tron’s final change of sides is adjusted slightly. Some of his lines were removed (more mysterious) and his color change happened during the mental change. This allows him to simply “turn off” in the water instead of looking like there's a chance he is coming back when his color changes in the water. That was just confusing.

• "Show, don’t tell" principles in effect as much as possible.

Watch 2010 as a more faithful sequel to Stanley Kubrick's 2001: A Space Odyssey. A classic score and space is silent!

A View to a Kill - Moore's Final Chase cuts the bloat, the cheap laughs, and much screaming. No Beach Boys, gratuitous sex, or shower scene. The springboard atop the Eiffel Tower is erased. The fire truck chase is trimmed.

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.

• Alfred's dream vacation story is scrubbed.
• All mentions of autopilot are scrubbed.
• The history eraser program is minimized and is no longer a motivation for Selina after Batman saves her from the thugs.
• Countdown to Core Meltdown Timecodes added to Bruce's scenes in the pit to spread out the timing of Bruce's recovery.
• Any verbal mention of time outside of a more evenly paced decent into chaos are removed.
• Bruce dies at the end.
• Blake gets the bag without being called Robin.
• Gordon doesn’t go back to work. He’s lucky he’s not being prosecuted for his perjury, at the minimum!

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

Phase IV is a cult sci-fi movie like no other. Often derided as a failed attempt to make an intelligent creature feature, it was to be the only feature film made by famous graphic designer Saul Bass, and is undeservedly grouped in with later 70’s B movie features such as Empire of the Ants, The Swarm and the like. To be truthful, this is similar to saying 2001: A Space Odyssey should sit alongside Battle Beyond the Stars. Paramount didn’t know what they had, and even cut Bass’ remarkable 5 minute montage style ending.

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.