This edit is turning the classic Karate Kid films into a late 80's TV Show where there is a previously and custom made opening credits for each episode.

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.

The series is set in a post-apocalyptic 2027, fifteen years after a worldwide blackout that caused all electricity ranging from computers and electronics to car and jet engines, to be permanently disabled. In the years after the blackout, people adapted to this new world without electricity as government and public order collapsed as several areas are now ruled by militias and their generals.

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!

A shortened down TV to Movie edit of the first season of Breaking Bad

The last shreds off the cutting room floor have been put back into Aliens, as the infamous Burke Cocoon scene has been reinstated along with several other short moments and lines that were never included in any other cut of the film.

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.

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

This is The Amazing Spider-Man with all its deleted scenes PLUS the Roosevelt subplot from the second movie added to the first movie. This is the full extent of the promised Untold Story without polluting the overstuffed second movie.

This fanedit completely removes Irene from the film and refocusses the story on the Driver's conflict with the Las Vegas mob.

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

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.

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.

Brilliant neurosurgeon Stephen Strange must find a way to heal his ailing body. His quest brings him to Kamar-Taj in Nepal where he studies under the Ancient One, who teaches him the ways of magic and alternate realities. With new skills of interdimensional travel and spells, Strange soon discovers that he must protect the world from a deadly enemy who is out to destroy it.

The Mystical Cut extends the magical film with a few new scenes and an all new ending. Three new deleted and extended scenes with the alternate film conclusion have been masterfully reintegrated adding two more minutes into the theatrical cut.

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.

James Bond changed in the 1980s. With the retirement of Roger Moore and introduction of Timothy Dalton, we transition from action movie with-a-wink to spy thriller. Well... mostly.
Dalton, inspired by the novels, presents a colder, more cynical Bond. His approach to win the confidence of a beautiful woman behind the Cold War's Iron Curtain, reminds of Richard Burton's performance in the Spy Who Came In From The Cold.
Perhaps the filmmakers feared that changing Bond overnight from the suave, cheery gentleman to a cynical smoking alcoholic, would feel as jarring to the audience as dislocating your shoulder. Perhaps they were right to fill Dalton's first adventure with comedic moments. In hindsight, however, we know the audience responded just fine to the comparable transition from suave and jocular Pierce Brosnan to steely-eyed and cynical Daniel Craig.

A simple extended edition of Spider-Man: Far From Home, reintegrating three deleted scenes back into the film, adding four extra minutes of content.