My goal was to streamline the storylines of the main characters through all three movies, as if the end was planned from the beginning. Kylo and Rey were of course most important.

• Kylo’s arc is pretty well fleshed out already, the most cohesive character arc of the ST, imo. As much as possible stays for Kylo.

• Rey needs to stay a nobody. And she slowly discovers her powers. She does not hit a stormtrooper with her first shot, and she less powered along the way as much as possible. She is just a special “nobody.”

• Poe’s character arc is nowhere near as complex as Kylo, but pretty much laid out for us.

• Finn is not force sensitive. This means he does not ever make and successful attacks with the lightsaber as well. Only once does he ask Rey about a boyfriend, from then on he keeps friendship motivations. Admittedly, Finn kinda disappears in the final fight, but there are just too many absurd parts to leave him in (no horses on spaceships in this cut!)

• Characters like Hux and Rose have been severely sidelined as they just do not have satisfying character arcs. Both simply fade out of importance in the final movie, but I hope I have not made it too obvious. Hux is no spy, simply muscled out by other power hungry commanders. I loved Rose in TLJ, but without adequate character development in TROS, it was best to minimize her to simply a person helping Finn on HIS character arc. Consequently, the scenes at Canto Bight are greatly reduced, and Rose and Finn simply do not pilot speeders at the battle of Crait.

Then I also audited the whole edit, based on a great youtube video essay about “showing, not telling.”
...

1997. The future.

Snake Plissken is pulling off one of the most daring heists of the late 20th Century at the Colorado Fedaral Reserve, but with the United States Police Force is hot on his heels, will he be able to ... ESCAPE FROM COLORADO?

To create the Superman epic per the shooting script befor the movie was chopped in half by the producers when money ran out and the ending of the first half was changed.

The 1979 SUPERMAN: THE MOVIE was plagued with issues during production leading to many changes which resulted in two films being release (Superman and Superman II) which significantly differed from what was originally intended. When the producers started to run out of money, they removed the intended cliffahanger from the first movie leading to the second movie needing so many changes that the director left or was replaced (depending on the acocunts you read). This present the original vision in a truncated form to get into the action with many newly completed deleted scenes, fixes and much much more per the shooting script.

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 .

Both Thunderbirds movies suffer from pacing issues (quite slow), very light on scoring (due to budget constraints) and just generally not as good as any of the 32 episodes. These edits turn them into full blown TV episodes as they would have been in 60's but in HD and widescreen, with score enhancements and ad bumpers. WARNING: This may be puppets and "childrens TV", but the dialogue is no t patronizing, dialogue is mature idiom (not childish) and "people" get shot in cold blood or die !!!! 60s childrens TV was full on gruesome, thank heavens.

LOOPER is an excellent movie, with a few rabbit holes which the deleted scenes go some way to plugging. These scenes also flesh out some additional important character moments, plus there is a new opening credit sequence (I hate when there are no opening credits).

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.

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.

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.

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.

Combining aspects of the theatrical release and the extended cut this edit features 4 deleted scenes, a full colour regrade, new subtitles and some rescoring.

This is a tribute to a Sinbad edit that was never completed. I have completed it for him and for people who want to watch it.

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.

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

This edit combines Thor: Ragnarok with Infinity War while keeping the focus on Thor.

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.

**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 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 Los Angeles 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.

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.

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

The year is 1940. As Hitler’s forces storm across Europe, Winston Churchill is elected the new Prime Minister of the United Kingdom. His leadership is immediately tested when hundreds of thousands of British and Allied troops become trapped on the beaches of Dunkirk, with the Germans closing in. As the desperate battle for survival unfolds on land, sea and air, Churchill must fight his own battles to launch a daring rescue effort across the English Channel. This fan edit combines the intense frontline action of Dunkirk with the backroom political intrigue of Darkest Hour, to create an epic supercut that tells the full story of the Dunkirk evacuation

The Wolverine - Fully Unleashed incorperates all of the unique and extended shots and footage from the Theatrical Cut of the film and reintegrates them back into the official Extended Cut along with the Alternate Ending included on the Blu-Ray for what is the most complete version of the film.

The Elemental Expansion Edition aims to create the longest possible cut with footage taken from trailers, TV Spots and the Blu-Ray bonus scenes.

This cut adds 11 new scenes, shots and lines, expanding the runtime with 7 new minutes of footage, as well as restructing the ending of the film for a more fluid finale, with the mid-credits now being attached to the rest of the film.

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

The Justice League: Ultimate Edition, aims to reinsert as much deleted footage from trailers, TV spots, promo material, behind the scenes featurettes, VFX Reels, Blu-Ray deleted scenes and a few fanedits to create the longest possible version of the Theatrical Cut.
It's not anything too spectacularly different, but it's four minutes longer with almost 70 alternate, deleted, extended and new shots and scenes added to the running time. Everything has been painstakingly colour matched with the theatrical footage and rescored with the OST with added SFX where needed to fill gaps.
This isn't any fancy Snyder Cut, but more of the movie you saw in cinemas with a few extra moments sprinkled throughout.

A reconstruction of Quentin Tarantino's own cut of Kill Bill: The Whole Bloody Affair that he himself screened at Cannes in 2004, and has since been screened sporadically since 2011 at the Tarantino-owned New Beverly Cinema in Los Angeles.

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.