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.

MI6 agent, James Bond, earns his 00 agent license to kill and becomes the infamous 007.

Crank: The SOS Cut is a faster paced cut down version of the original two films. In this edit I mainly remove multiple characters and shorten conversations so it sticks purely to the action,

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.

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.

Star Wars with a rocking soundtrack! Heavy Star Wars takes the existing action and adventure, trimming away unnecessary story/action/bad acting, and replaces the soundtrack with Rock music!

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.

Steve Rogers, a rejected military soldier, transforms into Captain America after taking a dose of a "Super-Soldier serum". But being Captain America comes at a price as he attempts to take down a war monger and a terrorist organization.

The Star Spangled Edition integrates back into the film three deleted,and extended scenes that were cut, but now have been added back for two more minutes of new footage.

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.

The Ultimate Comics Cut takes the best of the almost finished deleted scenes from the official “Alternate Universe Mode”. Five of the over thirty new minutes of deleted, alternate and unused scenes have been reintegrated into the film for an expanded new experience.

Ripley is rescued by a deep salvage team after being in hypersleep for 57 years. The moon that the Nostromo visited has been colonized, but contact is lost. This time, colonial marines have superior firepower, but will that be enough?

Inspired by my media teacher's hatred for the early Hadley's Hope scenes in Aliens (the only reason that we watched the theatrical cut in class was due to these 2 scenes in the SE), I've created my own cut as a half way point between the Special Edition and the Theatrical without the Hadley's Hope sequence.

Logan battles his primal paternal intuition as he makes his way through a dark fairy tale landscape filled with southern gothic grotesqueries. As his health fails him he finds himself operating on instincts he thought long lost, as if his destiny were already decided. As he passes into the realm of myth he finally realizes what he had been fighting for all those years.

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.