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.

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.

The Buy n Large Edition adds a few short moments from the Burn•E short as well as adding a few alternate scenes, replacing 2 pivotal moments.

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!

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.

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.

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.

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.

The aim of this project was to give the viewer a single intense Godzilla experience by combining the best elements from Godzilla (2014) with a streamlined Godzilla (2019) .

The Inferno TV Composite is an extended cut of The Goonies, adding back 3 new scenes that were exclusive to the TV Cut of the film, aired in the 80s. 8 more minutes of footage has been added back in, sourced from the Blu-Ray, DVD and a TV Recording from the 80s.

The first in what I hope is a continuing series of a fanedits which will see episodic Doctor Who stories from the classic era, fanedited into feature length movie style edits.

The Caves of Androzani is a 4 part story which is widely considered to be among the very finest Doctor Who stories ever made. It's not difficult to see why, with every main character fleshed out beautifully and a doom laden plot, the tone of which is rarely seen in the programme, resulting in a bonafide classic adventure which has lost none of its impact some 36 years later. What's more, it rattles along at a heck of a pace, with director Graeme Harper making every shot count, to the point where one struggles to think what could be cut in such a fanediting exercise such as this.

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.

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.

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.

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.

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.

Long ago the Skeksis eradicated the Gelfling clans to preserve their dominion over the world of Thra. Now, a lone Gelfling, Jen, must fulfill an ancient prophesy to heal the Crystal of Power and restore order to his world.

After re-energizing the present-day Turtles, the Turtles of the past have only 3 hours to get back to their time, or they will all cease to exist. Meanwhile, during the 15 hours it took to re-energize the Turtles, the remainder of Dregg's invasion fleet has been completed and has been unleashed on the city and now the Turtles and Carter have to stop Dregg, Krang, and Shredder.

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

An epic two-in-one edit of Avengers: Infinity War and Avengers: Endgame. Seamlessly combining the two films, along with credits scenes from Ant-Man and the Wasp and Captain Marvel. Additionally, there has been much cut from both films to remove some of the crappy dialogue and humour, to make for the most digestible and tolerable rewatch experience.

I removed a few wires, took out some things that I thought were kind of dumb, removed Kurgan's eyes flickering when he pops the blades out of his sword's hand guard and removed all references to Connor winning The Prize.

The Scott Pilgrim film adaptation did not have a straightforward production history. It was written and filmed while the final volume of the original comic book series, Scott Pilgrim’s Finest Hour, had not yet been released; and a substantial amount of the movie had to be cut or reshot due to the MPAA® rating rules changing during production.

These changes meant that, for example, characters would not be allowed to smoke on-screen (leading to a much shorter, reshot first date, in which there is unfortunately less chemistry between the leads), and certain words had to be bleeped out or scenes cut entirely to remove them. Many others were simply cut for time.

While the altered ending that also resulted from these reshoots is more faithful to the comic book and more true to the characters, many of the other changes appear to be driven less by the filmmakers’ creative vision and more by the various externalities of the movie industry.

Licence to Kill stands out in the Bond series for its sense of danger, brutal villains, and Timothy Dalton's driven 007 – but it's got problems, including off-tone comedy, perplexing love interests, and an obligation to franchise expectations. Licence to Kill: Recut aims to eliminate these problems.

The Living Daylights stands out in the Bond series for its mix of Cold War espionage and escapist adventure, its tender romance, and Timothy Dalton’s vulnerable 007 – but it’s got problems, including ineffective villains, unnecessary comedy, and an overcomplicated plot. The Living Daylights: Recut aims to eliminate these problems.

A version of 'Dick Tracy' that's a little tighter, with more consistent characterization for Dick and Tess.

Changes in v2.0:
Warning screen added to the beginning of the film.
Updated intro sequence with “WW” shield instead of “HP” shield.
Two audio tracks are now available in the video file, a 5.1 surround sound and a 2.0 stereo track.
Adjusted audio volume on Tina ticket scene.
Adjusted Credence/Nagini scenes for coloring and smoother transition to adjacent scenes.


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In this edit, I have added all deleted scenes back to create a new experience for viewers. The introduction has been completely changed including the creation of a custom scene to establish more of Credence's trip from NY to Paris.

Young Han Solo joins a band of smugglers on his first major heist and is introduced to Chewbacca and Lando Calrissian.

Part of an ongoing project to convert the “Avatar: The Last Airbender” series into a more cinematic format, this edit connects all 4 parts of the season 3 finale, removing all blackouts/titles/credits. Some minor changes to the narrative have been made, such as the cutting of “Loser Lord” and the re-placing of Zuko’s visit to his father at the end of the film. The Lion Turtle sequences are also now subtitled.

Revenge of the Sith: Rebalanced is a fan edit of Episode III that sets out to attain the following goals:

1. Keep the best parts while trimming substantial amounts of droid slapstick, exposition, and bloated editing.

2. Shift Anakin's fall to the dark side away from Padmé, and toward Palpatine.

3. Learn from existing edits, use the best of their ideas, and fine-tune each and every scene.

4. Make as seamless and professional an edit as possible. So many fan edits have great ideas, but you can tell if the music is a little uneven, or if the rhythm of a sequence gets off balance. I wanted to create a version that you could watch without knowing anything changed. If an edit, however ideal, resulted in a noticeable glitch, it had to go.

This cut removes Azog as the main villain from the story. The side quests are also gone and the main focus remains on Bilbo's adventure. In addition most of the over-the-top action, violence and silly moments are gone, while still providing a functioning narrative.

This is a Silent Movie edit of “Creature From The Black Lagoon”, re-scored using John Williams’ “Jaws” soundtrack. It makes even heavier trims to the narrative than my B+ edit, removing a further 20 minutes, resulting in a sort of atmospheric “super-cut”.

Narratively, I’ve gone for a different twist on the prologue, aiming for a similar tone to that of Metropolis. Where possible I have also tried to make dialogue reference notable lines from Jaws. Scene-wise I’ve been more liberal with the cutting, removing whole events and pairing up scenes in order to make my new, shorter narrative fit.

A streamlined and fast-paced narrative, in the structural and musical spirit of the Lord of the Rings franchise. Season 2 in 3 hours and 9 minutes, with the epic score of Howard Shore.

The third and final installment of my “Arkenstone” edit trilogy. Like before, I’ve tried to keep the focus as much as possible on Bilbo, Thorin and Gandalf, while still giving the various side characters their moments to shine, without drawing attention away from the main story.

Luke Skywalker and his friends continue their battle against the evil Empire. Experience one of the greatest science fiction stories of all time in this edition that is sure the thrill your younglings without scaring them at the same time. Will Luke and his friends bring freedom to the galaxy or will the Empire put an end to their rebellion once and for all....

Order of the Phoenix is actually one of my favorite HP movies, alongside Prisoner of Azkaban. The movie is fast-paced, often intense, and it has big stakes for our characters. I think the movie’s biggest flaw is its feeling of complete dissonence from the rest of the series, feeling much less like a Harry Potter movie and much more like a drama/thriller piece. Therefore, my biggest priority has been to establish a greater connection between this and the rest of the series - including remastered versions (by myself) for Voldemort’s Theme, A Window to the Past, Hogwart’s Theme, Neville’s (upcoming DH) theme, Gilderoy Lockhart’s Theme (now more of a Dark Arts Class theme), Quidditch Theme and more.

The movie has also been color graded to remove the heavy reliance on blue, as well inclusion of two deleted scenes, removal of Filch as an idiot and a lot of new SFX and even new scenes.

The 'Entirely Respectable Edition' seeks 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.

Knowing how many different takes there are on The Phantom Menace - and has been since 1999 (!), what stood out for me very clear since the beginning, apart from a bunch of what I thought were brilliant ideas that could work - was to make it different. Not make it a Fanedit, but a FanFix - more of a remake, if you will. Only then could it actually be worth many years of my time.

I grew up with the love of Star Wars and the excitement around The Phantom Menace and the prequel trilogy, but I never felt the magic stay with me for The Phantom Menace and Attack of the Clones (and to a degree RotS as well) as it did with the Original Trilogy. This was the red herring that made me interested in the creation and intellectual process behind the making of TPM, that made me realize the lost potential and go for a search on how to make it work. And thus The Ancient Lore was born.