American History X had a very tumultuous post-production, ending with the director leaving the film and wanting his name taken off. He has disowned the film as Edward Norton supervised editing, adding over 20 minutes of footage that director Tony Kaye detested.

Based on an early workprint, this edit aims to recut and rearrange the film using this preliminary cut for reference, and present what the director's original intention could have been had he not clashed with the studio.

Les Misérables (2012) London 1985 Stage Musical Edit provides a viewing experience of the Oscar-winning musical film that is as pleasing to the ears as it is to the eyes. Each musical number (about 95% of the film) has been dubbed over with studio or concert recordings from the professionals who have performed the musical on the London and Broadway stages. The video has been lovingly adjusted to sync up with the music, and in the time-honored cinematic tradition of a little suspension of disbelief, we can imagine the actors who brought so much passion to the film were also able to sing their parts without running out of air.

In the original movie, Kevin Spacey's character has such a jarring flip on conscience that it almost ruined what is otherwise a really fun movie. So I fixed it! I moved scenes around, added foley, learned some new techniques on Premiere Pro, and even recorded my own voice to fill in some gaps. I hope this redeems Doc and makes the ending more satisfying and fun for everyone!

Marni Nixon's dubbing of Audrey Hepburn's singing has been almost completely replaced with recordings of Audrey's voice (only "The Rain In Spain" remains of Marni Nixon).

This movie in its original format feels like there should be more going on than there actually is, and it left me feeling unfulfilled and slightly annoyed. By removing as much of the filler and misleads as possible without hurting the flow of the narrative, I believe I have made a movie that treats its viewer with more respect while telling an interesting story with a fairly unique premise.

“Vengeance of the Dark Side” tells a more complete story of Anakin Skywalker’s fall from renowned hero to the galaxy’s most dreaded villain by reinserting 5.75 previously deleted scenes (AI-upscaled to 4K and recolored into HDR). Where the theatrical cut follows Anakin nearly exclusively, the extra scenes in this edit give Padmé her own storyline that intersects with Anakin's--providing deeper foundations for his growing mistrust of her--and helping to expand Star Wars lore by showcasing previously unknown aspects of the Force (when the saga is viewed in episode-order) and the conception of the Rebel Alliance even before the Galactic Republic officially falls.

This edit combines several sources of media depicting the terrorist attacks of September 11, 2011 into a two and a half hour presentation.

Cue Rod Serling voice: "Tony Soprano is a man lost in a world of his own making, trapped in the one place he can't escape: his mind. Is a man more than his name? Can he make his own path even as the path is forced before him? Only so much can be done when the world pulls you to your seemingly-inevitable destiny... in The Sopranos."

This is a coma-only edit of two episodes from Season 6 of the Sopranos, telling the story of a salesman who can't seem to find his way back to the world he came from. Something is happening, but he's just not sure what, and finding out might be the last thing he ever does.

Cult classic "Hackers" from '95, but with some augmented VFX, improved sounds, and 15 sourced songs to complement the music you already know and love from the soundtrack. Less Boswell, and more Massive Attack, Underworld, Leftfield, Hooverphonic, Tricky.

The purpose of this restoration is to recreate the IMAX 1.43:1 presentation of The Dark Knight Rises by combining the widescreen 2.39:1 footage from the Blu-ray and the IMAX 1.43:1 sequences from the Special Features of The Dark Knight Trilogy Blu-ray (Special Edition).
That way, throughout the film, the IMAX scenes expand top and bottom showcasing the full IMAX 1.43:1 frame (instead of the cropped 1.78:1 IMAX frame) while maintaining constant width as it would on an IMAX GT 1.43:1 screen.

The purpose of this restoration is to recreate the IMAX 1.43:1 presentation of The Dark Knight by combining the widescreen 2.39:1 footage from the Blu-ray and the IMAX 1.43:1 sequences from the Special Features of The Dark Knight Trilogy Blu-ray (Special Edition).
That way, throughout the film, the IMAX scenes expand top and bottom showcasing the full IMAX 1.43:1 frame (instead of the cropped 1.78:1 IMAX frame) while maintaining constant width as it would on an IMAX GT 1.43:1 screen.

"In the not too distant future,
police are powerless to stop
gangs of criminals
from terrorising good citizens.

But in Gotham City,
in the heart of urban America
it is the criminals who live in fear...
OF THE BAT-MAN"

Enjoy this noir classic as it was originally presented in the 1940s, and see if you can solve the mystery:
Who is the Bat-Man?

A film noir classic that originated the trope of "I've been poisoned and I have to figure out who poisoned me before I die".

This version differs in that I have removed a silly inclusion of a slide whistle doing a wolf call whenever our "hero" sees a pretty lady.

The crew of the Enterprise embark on their final mission after 5 years and encounter many past challenges and phenomena leaving the crew exactly where Star Trek The Motion Picture picks up from.

The purpose of this edit is to re-conceptualize Season 1 of this amazing series into a two part feature film duology.

It reorganizes the scenes for a more cohesive story, congruous concept and dramatic impact, removing a lot of extraneous filler material. While Season 1 was just plain outstanding (for the most part), it had substantial bloat. I consider this edit an improved, definitive version, and also a good way to watch it again before Season 2 is released—a very full story told in 5 hours instead of 8½ hours.

Overall, this edit is intended to be even more of a gut punch than the original. And the most important thing is:
NO SHITTY PUNS WERE HARMED IN THE MAKING OF THIS FANEDIT.

A fanfix of Fellini’s late career City of Women that’s less shrill, more dreamlike, less defensive,

A pair of robots wish to become human.

To create ten 60 mins Episodes from Quentin Tarantino's 10 films to date.

To create ten 60 mins Episodes from Quentin Tarantino's 10 films to date.

To create ten 60 mins Episodes from Quentin Tarantino's 10 films to date.

To create ten 60 mins Episodes from Quentin Tarantino's 10 films to date.

To create ten 60 mins Episodes from Quentin Tarantino's 10 films to date.

To create ten 60 mins Episodes from Quentin Tarantino's 10 films to date.

To create ten 60 mins Episodes from Quentin Tarantino's 10 films to date.

To create ten 60 mins Episodes from Quentin Tarantino's 10 films to date.

To create ten 60 mins Episodes from Quentin Tarantino's 10 films to date.

To create ten 60 mins Episodes from Quentin Tarantino's 10 films to date.

This BvS edit keeps the focus on the conflict between the titular heroes by removing all the interfering DCEU scenes and connections, also making edits to minimize some of the “infamous” elements and moments in the film. Nevertheless Snyder’s signature style remains intact.

False God retains all UE scenes that strengthen Lois and Clark’s respective investigations and Luthor’s manipulations but controversial elements have been alleviated (Lex’s ticks reduced, more respectful/hopeful ending). Removal of the DCEU connections close the door to the JL movie but leaves it open for the Wonder Woman (2017) 'self-contained' solo movie to connect.

After the fall of France to the Nazis and the evacuation of the British Army from Dunkirk, the Royal Air Force must defend their homeland from the threat of invasion by a battle-hardened and numerically superior opponent during the summer of 1940, with the future of the country, and maybe even the whole of Europe, hanging in the balance.

This edit is, on the whole, a simple tightening of the director Guy Hamilton's ambitious 1969 retelling of these events, hopefully making it more approachable for the audience.

Available in two versions:
* Technicolor
* Black & White

This is an edit of Peter Jackson's King Kong without most of the silliness. Where things move quicker, but there's still room for a breather.

Fanedit running time: 2 hours 21 minutes (before credits)

Would Spaceballs be even funnier with some of the weaker moments removed... AND the entire score replaced from David Lynch's Dune? I think so!

Lightweight edit with the aim of re-incorporating five deleted scenes to Adam McKay's The Big Short (2015) to extend the film approximately seven minutes. Also fixed one goofed line during the Securitization Forum.

I wanted to make a faster paced Noir version in black/white.
And to rescore it with German krautrock legends Tangerine Dream.

"Let's Do It For Johnny!" takes the extended cut of "The Outsiders" and replaces most of the 60s rock music with the background music from the theatrical release. This elevates the experience of watching "The Outsiders" so that you can watch it with its complete beginning, end, and a few scenes in the middle, and not be bombarded with off-tone music. However, I did keep the extended music to a few of the scenes where I felt it fit the tone, like Johnny's death scene, the ending scene, the sunset poem scene, and a few others.

After I finally saw the theatrical cut of No Time To Die (NTTD) I wanted to create a new version so Bond lives, and also be much, much shorter overall.
I thought NTTD was an over-bloated mess. It has beautiful imagery yes. Some of the shootouts and tense scenes are awesome to watch in the environments they're happening in. The callback to On Her Majesty's Secret Service (OHMSS) was actually nice to see, but the Dr. No callback not so much. I know Bond's wife dies in OHMSS so someone dying at the end of NTTD makes sense, like poetry. But I thought the poetry was kind of bad, so I rewrote it and made them all live in a wholesome Bond sort of way.
Also, the original death scene where we get all the various character's reactions to Bond being obliterated by hellfire had me laughing. I was cringing. The music was swelling! Had me dying... The story is mostly very full of itself, but the cinematography and action was fantastic.

This is Tarantino's adaptation of Rum Punch with some changes to narrative and a fresh take on the music

I wanted to watch the much shorter, "sacrilegious" US Theatrical Cut in HD, with clear sound, not in the terrible quality, 4:3 cropped and (towards the end) unlistenable VHS tape capture, which seems to be the only proof that this version really existed. So I edited the standard Blu-Ray version, shot by shot, or frame by frame, to match the VHS video. Then tried to reconstruct the audio as closely as possible, only using the VHS audio for unique sections of music, dialogue and soundFX (which thankfully were few and far between). I've also recreated the opening and closing credits in HD, although the latter could not be remade using the on-set photos used on the VHS, since I could not find all of them in anything like acceptable, or consistent quality. I wanted to only use HD material, so a few unique VHS shots have been replaced with analogous spare blu-ray shots.

Bill is having marital problems with his wife, Alice. He tries to lie his way through to keep the marriage alive, but when Alice reveals that she had longings for another man, Bill is taken on a journey of fear, paranoia, and strangely enough, gratitude.

To compare the two versions of Seven Brides for Seven Brothers that were filmed in CinemaScope (2:55) and one in a "flat" widescreen (1.77). respectively with full annotations explaining how and why EVERY shot in the movie differs.

This is a streamlined version of Christopher McQuarrie's directorial debut, "The Way of the Gun". A story of Ronin, Samurai, and the desire to "cross the river" and enter Heaven with a clear conscious...

Another very slight edit of this Howard Hawks masterpiece, with a little more modification than done in my earlier ending-changing Bogdanovich Cut.

The Final Countdown. This is one of those forgotten gems from the 80's. It is a great film, with a simple idea, that is pulled off quite well. However, the film is bogged down with excessive shots and sequences showcasing the Navy. This is a version of the film with the bulk of those scenes either cut or trimmed down, as well as some other bits here and there.

This is Luc Besson's "Leon" re-framed to be more Mathilda-centric, with Leon's story revealed more slowly, but also in a more ambiguous way. What brought him to this moment? You decide. Featuring many songs from the 80's and 90's, and leaning heavily into female vocalists, the soundscape taps onto Mathilda's motivations and emotional states at key moments in the story.

White Water Summer was a solid piece of 80's escapist fun. However, it was painfully undercut by the insertion of cuts scenes and narration by Sean Astin that frame the events of the film as a flashback. The sole intention of this edit was to remove these cuts scenes and narration and to allow the film to play out in a linear fashion without the interruption of these intrusive moments.

My latest Hitchcock "micro-edit" -- while there's two widely available cuts of Strangers on a Train, the early preview edition (erroneously called the "British cut") and the theatrical edition (the "Hollywood cut"), neither reflected Hitchcock's preferred choice for the ending, which would end with the line "a very clever fellow" instead of the Warner Bros-demanded coda with the supporting characters. I've used the theatrical cut as the basis to restore Hitch's preferred ending.

The next in my series of Hitchcock micro-edits, "Marnie: The Evan Hunter Cut" is an attempt to showcase the 1964 Sean Connery/Tippi Hedren thriller without the sexual assault scene between the two married lead characters which appeared in the source material, to which original screenwriter Evan Hunter (aka crime novelist Ed McBain) objected.

Hitchcock insisted upon including the scene, saying "Evan, when he sticks it in her, I want that camera right on her face."

Hunter pleaded with Hitchcock not to use that scene, which lead to Hunter's dismissal from continued work on the film.

Although Hunter is no longer credited as the screenwriter on the finished film, I was nevertheless curious to see how this still-controversial and divisive Hitchcock classic played without that particular scene.

For my next act of film blasphemy, noir classic Double Indemnity is stripped of its iconic narration and given a linear chronology. This is not intended as a fan-fix per se, but as an experiment in seeing how the film functions when its main storytelling device is removed and limited to an implicit visual narrative, rather than an explicit voice-over. In addition, moving the opening scene to the end allows for a little more mystery as to exactly how things play out.

There was a story about 2 brothers who had a natural talent for alchemy called Fullmetal Alchemist. This story was originally told in a manga, but before the manga was finished an anime was put out. The anime had to change and create some original story elements because the manga was still ongoing at the time.

After the manga had finished they wanted to revisit the anime with a version closer to the actual story told in the manga. This would be known as Fullmetal Alchemist: Brotherhood. The only thing was due to retreading some story elements told in the original anime, they shortened some story beats for FMAB.

Halloween Ends Revisited: The Final Cut is the first of a planned four-part series focusing on the storyline established in the H40 trilogy, starting with Halloween (2018). Although I loved Halloween Ends when it came out and it satisfied me in its intended aim, I can still see the flaws that a lot of people have problems with. With that in mind, I took the time to cut 20+ minutes of footage, replace one sequence, extend another sequence, and recolor the entire film to present a hopefully more enjoyable version of this divisive film.

I am proud to present Halloween Ends Revisited: The Final Cut.

Back in October of 2022, Halloween Ends -- the third chapter of David Gordon Green's reboot trilogy of the Halloween franchise -- was released in theatres, billed as the "final explosive chapter in the Michael Myers/Laurie Strode story". The film proved to be quite divisive within the Halloween fandom due to choices made within the film regarding how Michael was handled and the introduction of new character, Corey Cunningham, who serves quite a large role within the film for the entirety of the film's runtime. Everyone has strong opinions regarding the film: you either love it or hate it.

Being in what appears to be a small minority, I enjoyed the movie for what it is, and its that enjoyment that made me want to create an extended edition that reintegrated all of the deleted and extended scenes to create the longest cut of the film possible. I am proud to present Halloween Ends: Extended Cut.