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.

BUT THERE ARE SO MANY HOBBIT EDITS! WHO IS THIS FOR?

This is a Movie-to-TV edit based on AdamDens' 'The Hobbit: The Original Two-Film Structure', with a few further tweaks.
Therefore, this edit will be most suitable for people who want-
* A high quality edit with well-considered changes, tightened and polished and with minimal frustration
* Tonal and visual consistency with the Lord of the Rings movies, and the retention of the majority of content which sets up its plotlines
* A digestible, episodic structure (8 episodes of ~50 mins each)

THE CLONE WARS: REFOCUSED presents the entire Clone Wars as a complete series of five seasons of about ten TV-length episodes each. Now structured and presented with the conventions of a more mature modern TV drama, it tells the complete narrative of the Clone Wars, retaining all the most important and enjoyable elements of the show, whilst trimming a vast amount of the weaker content, saving you over 17 hours total while still telling the same core narratives. Episodes have been refined, refocused, reordered and recontextualised to maximise story quality and viewer enjoyment, both for the show’s own complete end-to-end story, and for those seeking a supplement or introduction to new canon like the Mandalorian, Bad Batch, and wider Filoniverse.

A young couple travels to a remote island to eat at an exclusive restaurant where the chef has prepared a lavish menu, with some shocking surprises.

Three deleted scenes, with some new setups in the first act, and four minutes of new footage has been reintegrated into the film.

An edit of just the Jennifer Coolidge story in White Lotus Season 1..

This is vastly different than the original cut. We have a new opening to recap the ending of Part 1 and a subsequent scene not seen in Part 1. The tone is less cartoonish and more balanced. There is a lot of new music and deleted material used to flesh out the movie. Much like Part 1 this has the focus on Peter and Gwen's relationship without all the other distractions.

Electro is pushed back to a secondary villain and Harry is brought up to being the primary villain. Electro's motivation is different as well. The accident simply drove him insane and he hears voices in his head.

After Walter and Jesse's frightening encounter with Tuco Salamanca, they plan a way to murder him before it's too late. Little do they know they have an even more intense future ahead of them.

This edit focuses on the events of 1912, keeps Rose's narration, and uses the full IMAX aspect ratio throughout. Modern scenes/characters are reduced to an absolute bare minimum. This cut also incorporates limited deleted/extended scenes but only those which further character development of Rose, Jack, and Fabrizio (or otherwise gives better dramatic impact to their scenes).

Summary:
Regraded
Several Jack/Rose deleted scenes added (1080p source)
IMAX aspect ratio throughout
Reworked intro
No more Bill Paxton (Brock) or his annoying sidekick
Focus is on events in 1912
The limited modern scenes have older Rose narrating or show older Rose (no more adventures of the salvage crew)

A boy obsessed with '50s sci-fi movies about aliens has a recurring dream about a blueprint of some kind, which he draws for his inventor friend. With the help of a third kid, they follow it and build themselves a spaceship. Now what?

Vincent Vega and Jules Winnfield are hitmen with a penchant for philosophical discussions. In this ultra-hip, multi-strand crime movie, their storyline is interwoven with those of their boss, gangster Marsellus Wallace ; his actress wife, Mia ; struggling boxer Butch Coolidge ; master fixer Winston Wolfe and a nervous pair of armed robbers, "Pumpkin" and "Honey Bunny".

Implementing the suggestion of the eponymous filmmaker and critic, to make what he considered the theoretically ideal version of this iconic 1948 western.

This edit adds and replaces scenes from the director's cut to the theatrical cut to expand the film while avoiding the philosophy of time travel excerpts in order to preserve the ambiguity of the theatrical cut.

A simple update of Doctor M’s Reconstructed Gangrel Hybrid Cut, now sourced from the 2016/17 blu-ray, taking this classic to its maximum possible runtime in the best possible quality.

Winners of the 1990 and 1992 Worst Parents Awards are accidently seperated from their 8 year old son, as he is at home, left to severely torture and mutilate 2 grown men.

The Holiday Special Edition adds back 14 deleted, extended and alternate scenes to this Christmas classic, with over 10 minutes of new footage.

Danny and his gang of thieves have to pull off their most risky heist to defend one of their own. However, they are going to need more than luck to break the ruthless Willy Bank and his casino.

The On The House Edition adds back 4 brand new scenes and 4 more minutes of footage. All good things come in fours, or thirteens, or something.

From IMDB: A team of explorers travel through a wormhole in space in an attempt to ensure humanity's survival.

A moderate edit that keeps the central themes intact but presents them in a less heavy-handed fashion. Some action sequences have been re-cut, FX shots tweaked, and bad/expository dialogue is kept to a minimum, with some scenes rescored to help create a more consistently ethereal atmosphere. Some tweaks for pacing have been made, but the nonlinear structure is retained. One flash forward is cut, another is incorporated as a voice-over, and most are trimmed. The lighthouse finale is left untouched. The 5.1 surround track is preserved and I have also put together an isolated score track.

"YOU CAN'T HANDLE THE TRUTH!" is iconic. It's an awesome punchline to a very good movie. But not an awesome movie. To fix that, this edit remedies many legal inaccuracies, improves the pacing, and makes the hero more likable and the heroine less inept.

More natural color grading. Adds dust, weather, and blood FVX. Not all the mission targets are provided to Deckard.

The Thing 2011, Extended and tweaked .

When I contructed "THE THINGS" edit ( a mashup of both the 1982 and 2011 versions), I also made an extended version of the 2011 version.

We all hoped to see the original VFX that were sgot with practical effects that were later replaced in post production, but this will clearly now not occur.

Over the years, I have shared this version with a few on the site, to favorable responses. So on that basis (and yet another request to wither make this oedit or release it), I believe now is the time to re-appraise this film.

The one provisio I make to any who review this is that this was the last Standard Definition edit I made, So please do not scor it down on image on that basis. It was and is DVD quality, and older DVD based edits were not penalised back then, so please bear this in mind.

I will in the fullness of time, make an HD version of this....eventually.

ENJOY to all

W

Star Trek " The Wrath of Khan without the recyled VFX from Star Trek The Motion Picture

Hal Ashby's classic satire with a few of the more distracting elements removed. Several scenes were removed and two were shortened, one sequence was slightly reordered (to accommodate the removals) and the end credits were reformatted.

A fan edit that condenses Kubrick's film into a more feasable sub-90 minutes. This is the first in a series of Kubrick shortening edits.

The Wrath of Khan as it might have been, had it not been made on a tight budget with recycled VFX by the Paramount Television Unit (which it was astonishingly)

Carlito's girlfriend Gail takes up a lot of screentime so I wanted to just keep the scenes that really needs to be there and cut the movie down for a better pace. To tell faster more streamlined story.

This edit gives the viewer the chance to experience and interpret the story as it unfolds rather than constantly being told what is happening and how to feel about it. Commodus’ actions alone are what shows us his depravity, and he actually acts upon his lust for his sister. Lucilla (the sister) is also depicted as a much stronger woman.

To make this made for Television film to look like a lost classic in Black/White.

A fasted paced grindhouse inspired combo of the two classic Tarantino films.