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.

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

A straightforward edit that does no more than cut up "The Irishman" at key places, transforming it into a 4-part miniseries.
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Pennsylvania, 1956. Frank Sheeran, a war veteran of Irish origin who works as a truck driver, accidentally meets mobster Russell Bufalino. Once Frank becomes his trusted man, Bufalino sends him to Chicago with the task of helping Jimmy Hoffa, a powerful union leader related to organized crime, with whom Frank will maintain a close friendship for nearly twenty years.

'The Penultimate Cut' is named because it's supposed to be one step back from 'The Final Cut'. Ridley Scott's final/ultimate version of 'Blade Runner' but how it used to look and feel.

The story of 5 friends form Erie, PA who find themselves on a journey of wonder as they rise the charts doing that thing they do.

This fanedit completely removes Irene from the film and refocusses the story on the Driver's conflict with the Las Vegas mob.

'The Exorcist: The Devil and Father Karras' aims to shift the focus of the film away from Chris and Regan and onto Father Karras, Kinderman and the other priest characters. 18-minutes is cut but enough is retained to chart Regan's possession. Much of those scenes are a "wild goose chase" anyway, showing the Doctors trying unsuccessfully to cure Regan.

The Adamantium cut reincorperates the best of the cut and deleted material from Logan to create an extended edition of the Wolverine's final outing.

Four new extended and deleted scenes have been integrated into the film, adding five of new footage into the film.

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.

A simple, unnecessary, but fun extended edition to "the ninth film by Quentin Tarantino", Once Upon a Time in Hollywood.

I've reinserted all deleted scenes, making the runtime just a couple minutes over three hours, adding twenty-three minutes of footage to the film.

This edit aims to provide a more complete, satisfying and enjoyable telling of Elton John’s story, particularly for fans. Deleted scenes are restored, including Elton’s first suicide attempt and a subplot regarding the AIDS crisis. Two egregious factual inaccuracies are removed: Elton taking his last name from John Lennon (the real-life origin, from blues singer Long John Baldry, is well-known) and Elton playing his ‘80s hits in the ‘60s. The tone and pacing are also improved by cutting Elton’s last argument with his mother (a miserable scene that is too similar to the argument with Bernie Taupin directly following it). Finally, a couple musical Easter eggs are added to the film’s score.

The original release is a pretty boring movie, we follow Chris Pratt's character, Jim, throughout the film, and see his personal struggles with his fate, and his relationship with Jennifer Lawrence's character, Aurora, flourish. If you've seen the movie then you know the plot, but, if you haven't, then that's all I can really tell you without ruining it.

Essentially what this edit does is rearrange the movie to follow Aurora, which makes for a much more interesting viewing experience - activating the psychological elements that the original film set up.

The author of Lean on Pete, Willy Vlautin is not only an incredible writer, he is also the front man and guitarist of one of the finest Americana bands of the last twenty years. It is almost a crime that his music in the film adaptations of Willy's novels is often relegated to the end credits. Although some of the original score by James Edward Barker remains i wanted to highlight Richmond Fontaine's music and bring it to the forefront.

The Room has always provided a good time for those who are wiling to sit through it. But for those who don't want to experience 3 consecutive sex scenes in the first 3o minutes, I have cut all sections of this movie that could deemed 'NSFW'. So this cut is less focused on 'fixing' The Room, and more on making it ok to watch with friends and family. This isn't a total 'PG' cut, (there is still plenty of swearing, and the plot, however little there is, is still focused on infidelity), just a minor re-tooling to make it more approachable for those who want to join in on the fun.

This project takes the Criterion blu-ray for Orson Welles' 1968 film 'The Immortal Story' and conforms it frame-by-frame to the longer cut, blending in the missing 4-minutes of footage, re-framing every shot and attempting to upscale and grade it to match.

This is a fanedit which focuses only on the Frank TJ Mackey storyline.

This edit takes the HD transfer on the 'Ultimate Director's Cut' blu-ray and goes in and fixes, alters, or replaces every single changed shot to "Reconstruct" the original 'Theatrical Cut' in almost the same HD quality. So we can once again enjoy the film the way it was meant to be seen 1979, without compromising on visual quality.

An aspiring actress and jazz pianist pursue their dreams but will the dream tear them apart. Spotlight or once in a lifetime love.

A streamlined and fast-paced narrative, in the structural and musical spirit of the Lord of the Rings franchise. Season 1 in 2 hours and 36 minutes, with the epic score of Howard Shore.

This is the second entry in the "B+ Movie Project", a series of edits that seek to improve on older films, while still maintaining the charm and narrative of the original cut. #2 happens to be another Jack Arnold film, and similarly to Creature from the Black Lagoon, this has had a lot of chaff removed. I’ve tried to strike a balance between promptly setting things up and improving the pacing, while also maintaining some of the atmosphere in the latter half of the film, where the tone starts to become more philosophical.

This edit comes with two audio options:

- B+ Narrative (default) – heavily trimmed narration. Anything that I felt was too pretentious or didn’t add anything is removed and rescored.
- Purist Narrative – lightly trimmed narration. The original voice-over has been preserved as much as possible, with some compromise being made due to the streamlined nature of the edit.

Seven children find each other as an ancient evil awakens to feed off their fear. They discover that only together can they hope to defeat it.

Picking up 25 years after the events of the original series finale in 1991, FBI Special Agent Dale Cooper is trapped in the Lodge. Now with the help of The One Armed Man, Cooper must avoid the traps his evil doppelgänger has set for him.

Part I combines and trims episodes 1 - 3.

Two years ago, in the final battle between Superman and Zod, Metropolis was destroyed. Now the city is slowly rebuilding, but some wounds never truly heal, and a dark vigilante has emerged from the shadows to bring justice to the man responsible. Featuring material from both versions of the film, Mr. Blue presents a faster paced, action packed recut of the most highly anticipated comic book movie of all time

So, after my first edit, The Return of Sherlock and a month of experience, I have decided to make the sequel. I feel that this edit focuses on Sherlock, John, and of course Mary.