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 4 minutes - either with Howard Shore or the original Game of Thrones score.

The main source for this edit is the Director's Cut blu-ray, with all unique footage of the Theatrical Cut put back in, while also retaining the small amount of unique DC footage. The HD DC footage looks fantastic but the SD TC footage looks extremely poor, however, I've attempted to grade it to match and added film grain to try and make it look a bit more like terrible 16mm or 8mm footage, rather than terrible videotape. Not wanting to crop the already blurry TC footage any further, I've elected to letterbox the DC footage to match the 1.66:1 ratio of the TC. The difference is still obvious though.

A short edit comprised almost entirely from scenes and deleted scenes on Naboo. This is intended as a companion piece to my Attack of the Clones No Naboo Cut.

The Narrative differes from AOTC in that the story takes place after the Clone Wars have begun and Anakin and Padme have already fallen in love. Apart from a short scene at the start it all takes place on Naboo.

The main source is the 'Director's Cut' workprint blu-ray, with every possible extra shot/scene added from the 'Broadcast Version' blu-ray.

A restoration of the 170-minute extended cut of the film, shown on ABC over two nights in 1996.

This isn't a heavy edit, it's mostly a restructure. The 10-minute 'Second Battle of the Somme' sequence, which occurs 3/4 of the way through and does not feature Joey, derails the movie. So the Somme sequence is shifted to the start, to form a new flashback/prologue and is now in black & white with an added old-fashioned vignette, further separating it visually from the main body of the movie, suggesting something of the past about it and creating a contrast with the vibrant colourful countryside of the first Devon scenes. The fact that the Somme sequence already featured no score, unlike the lushly orchestrated John Williams scenes that follow it, was a bonus distancing factor. We will now not really see Albert again until the end of the film, just a brief glimpse of his face, lit by the guns that Joey is dragging, only informing us that Albert has joined up. The 2-minute cutaway back to Albert in England disrupted the otherwise entirely Joey focused narrative, so that is simply deleted. There are a few more minor cuts to massage the new continuity and to slightly delay certain aspects of the story. On-screen chapter titles are added (in the same style and font as the existing time/place titles), acknowledging the episodic nature of the story and who owns, or cares for Joey in those episodes.

Building on 'The Implicit Cut' as a foundation, this new cut makes various changes in order to accommodate the possibility that 'The Haunting' is all in Eleanor's mind. Changes include a new opening and ending, tweaked dialogue and a narrative structure that never leaves Eleanor's side. This edit can be viewed both with or without internal monologue.

The Extended Cut with the early structure altered back to that of the Theatrical Cut.

Part of an ongoing project to convert the “Avatar: The Last Airbender” series into an alternative, less "bite-sized" format, this edit connects the first three episodes into a single narrative, removing all blackouts/titles/credits. Some tweaks to humour and minor changes to narrative have been made, such as a less melodramatic exit for Aang, tweaks to dialogue to foreshadow episode 3, and a slight shift in the order of events.

AVATAR: The Final Cut aims to put Avatar's best foot forward by removing unnecessary narration and extending character development. The extended edition, while better than the theatrical by far, was lacking a 3D release. This edit not only fixes the main problem of the film, but also brings an all new 3D version of the extended experience.

With his mother dead and his father at war, Seita takes it upon himself to protect and raise his younger sister Setsuko during WWII.

The re-telling of the Eastrail 177 Trilogy in SPLIT UNBREAKABLE GLASS was the first part of an experiment to retool these movies with a new narrative structure to facilitate surprises, adjustments to reveals, new parallels, new opening and closings and much much more. One can be surprised again.

In what may be a fanediting first, this version takes extensive material NOT used in SPLIT UNBREAKABLE GLASS (Dr Fletcher and David's marital issues) and tells the same (or similar tale) as an alternate version of the events from a very different perspective. Over 50% of this version of events is newly repuposed and previously unused and differently structured. With a different resolution and enough left untold to permit both edits to surprise and re-reveal, UNBREAKABLE GLASS SPLIT and SPLIT UNBREAKABLE GLASS can be watched in any order and still shine a BRIGHT light on M/ Night Shyamalan's genius, patience and discipline in anchoring these characters in the real world.

You Only Live Twice - the film where Bond becomes Japanese. Hmmm, I've always struggled with that one. There's loads to enjoy in what was supposed to be Connery's swan song as 007, but it's also a film which has not aged particularly well, primarily because of the awkward plot line which sees Bond literally undergo a cosmetic procedure to look Japanese. It never really worked back in the 60's, but now it just comes across as uncomfortable and insulting in some ways.
On the plus side however, this is a gorgeous looking film, with incredible production design and a proper travelogue feel to it.

A supposition of the version that bombed in 1988.

"A guy comes in from out of town. He doesn't have a past - at least not one he wants to talk about. He gets a job in a used-car lot. It's one of those typical small towns from the movies of the 1940s and 1950s, the kind of backwater where the other guy on the job is a nerd, and the boss is a blowhard with a bum ticker - but the boss' wife is this great broad with blond hair and big eyelashes and when she gets up in the morning she puts on her negligee just when the other women in town are taking theirs off. Oh, and the bookkeeper at work is this innocent young girl who is intimidated, for mysterious reasons, by the vicious creep who lives in a shack outside of town." - Roger Ebert (1990)

A man finds himself shipwrecked on an island, with his every attempt to escape by sea foiled by a large red turtle.

An archaeological dig uncovers the fossilized remains of Fry's dog Seymour, with the possibility of creating a clone complete with his original personality and memories intact.

A young boy undergoing chemotherapy at hospital discovers an incredible secret. (Original in French with English subtitles; alternate English audio track also available).

All dialogue has been removed. Andy's story is told through visuals and music.

Consecution X features nine shorts by six editors, all based on animated source material. Spanning comedy, drama, adventure and fantasy, there's sure to be something for everyone.

This edit retells the story of Joker in four parts and leans into the unreliable nature of the character.

This edit began with a need to cut all the jokes that ruined the tension of the action, and the pacing of the dialogue. Underneath all those bad jokes was a strong and intense film, so those jokes and attempts at humor were cut. And added deleted scenes were put in to ehance the dramatic feel.

New credits
Trimmed a few scenes.
Replaced the original William Olvis score with Angelo Badalamenti where possible.
A new altered open ending

7 minutes of deleted footage has been added back into the film to bring The Place Beyond the Pines to its maximum length whilst maintaining continuity.

This edit aims to improve on the pace of the original in areas where it is unnecessarily slow, as well as remove all reference to the spiders.

This edit has focus on Neil McCauley (Robert De Niro) and removes a lot of scenes from the other characters.
This way the movie gets a higher pacing and reduces the running time by 53 minutes.
And I wanted to change the ending as well
This version all belongs to Neil McCauley.

HOOK has enough flaws that it shouldn't work. But it does! The good parts pack enough emotional punch to carry the movie. This edit retains those good parts, cuts over half-an-hour of weak parts, tidies up much in between, and adds two deleted scenes. It keeps Peter's character development front and center, makes his and Hook's characters more consistent, and vastly improves the pacing.

A hybrid cut of the theatrical and Director's Cut of Amadeus, losing most of the added scenes from the latter but keeping the Constanze/Salieri subplot intact.

This is probably the closest you'll ever get to see Hughes' original cut of the movie before the studio forced him to cut it down to 97 minutes, a normal length for the type of film it was, at the time it was produced. John Hughes said getting the film greenlit by Universal wasn't easy because the executives complained there were no bare breasts, no party scene, no guys drinking beer, or other things they thought a teenage picture needed at that time.

This edit is a follow-up to my previous prequel edits, Faster More Intense and Sanded Down.

It's in some ways a bit more conservative than my other two prequel edits, and probably one of the more conservative Revenge of the Sith edits in general. While the first two prequels are movies I don’t enjoy because of their flaws, ROTS is a movie that I enjoy despite it’s flaws, I just wish it could be better.

The Haunting (1963), more or less as you remember it, but with all internal monologue removed. The opening and closing narration is retained. Also featured is an alternate audio option with the internal monologue kept but significantly trimmed.

Jaws 2 has been called a competent yet unnecessary sequel - and in many ways that's certainly true. However, I've always loved the film, almost to the same degree of Spielberg's original masterpiece. In my eyes, it doesn't even need a fanedit, but I thought the opportunity was there to present a streamlined, fun and dare I say more powerful version of this great sequel.

Tony Benedict receives a tip from the Night Fox fueling his revenge on Danny Ocean and his team.

Two Tales restructures the Extended Cut of American Gangster from one that inter-cuts the stories of Richie Roberts and Frank Lucas into one that is built around three distinct sections; Richie's story, Frank's story, and once they collide.

The Der Stolz Edition of Inglourious Basterds extends the film as four new and extended scenes are masterfully integrated back into the film, reincorperating 6 minutes of new footage.

All new footage with German speaking has been subtitled to match the rest of the film, to engage the audience with an even deeper cut of this masterpiece.

The re-telling of the Eastrail 177 Trilogy with a new narrative structure to facilitate surprises, adjustments to reveals, new parallels, new opening and closings and much much more. One can be surprised again.

Redundant threads (marriage issues from Unbreakable and Dr Fletcher from Slpit) and over- exposition (from Glass) have been removed. Scoring has been adjusted to permit music motifs to run through the narrative consistently, Deleted material has been used only where the narrative requires it.

New opening and closing titles have been created and all crew are credited (source IMDB).

An Irish terrorist seeks revenge on Jack Ryan and his family after the death of his brother at the hands of Ryan.

It (A Film) is a fanmix/fanfix of It (2017) and It: Chapter Two (2019). Both films have been combined and restructured to follow Stephen King's novel as close as possible. This edit also intends to re-work Chapter Two to address some of the weaker aspects of the sequel and improve the film.

Rocketman: Long, Long Time Edition adds back 10 new, extended and alternate scenes, as well as incorperating 4 extended and alternate musical numbers. Over 30 minutes of new footage has been re-edited into the film, but 9 minutes has been cut out, as a lot of the musical numbers have been replaced with these new alternate versions.

The 1st and 3rd acts of The Place Beyond the Pines are intercut to highlight the similarities between Luke Glanton and his son.

With over 900 changes this is the ultimate fix. Two F Bombs remain

This puts back the original ending that preview test audiences saw, upscaled and improved.

This edit cuts down Series 1 of Peaky Blinders into a feature length film. The focus of the film is on Tommy Shelby, the expansion of the Peaky Blinders gang, and its rivalries with Campbell’s police force, Billy Kimber’s Gang, and the Lee Gang, with the IRA and Freddy Thorne’s communists being secondary antagonists.

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 .

An improved preservation of the The Godfather Part 3 Director's Cut using La Coda color grade as the basis, with extra stuff too.

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.

This fan-edit combines the original Japanese version of the original 1954 Godzilla film and the American re-edit called "Godzilla, King of the Monsters!" It adds the additional footage of Raymond Burr's character Steve Martin and others created for the American version to the original Japanese cut, keeping both Steve and almost all of the scenes with the original cast, extending the run-time to over an hour and 40 minutes. This way, you get the best of both worlds, with the brilliance of the original Japanese masterpiece and the great acting and iconic lines of Raymond Burr that I (and I’m sure many others) have lots of nostalgia for. This is a great edit for people who like both the American and Japanese cuts for their own merits and don’t want to have to pick between the two when revisiting the original Godzilla, and is also a great way to introduce someone to the franchise if you’re not sure which version to show them.

Leonard Shelby can't make new memories. He can remember everything up until the night that his wife was murdered, but everything that happens after fades within a few minutes. Ever since that night, Leonard has been searching for the man that killed his wife, John G.

Leonard wakes up in a motel room and receives a phone call. 5 hours later, Leonard pulls up to a tattoo parlor with information that could enable him to finally track down John G and get revenge. The two plotlines proceed chronologically in parallel until they both culminate in a shocking conclusion.