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.

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.

A pair of robots wish to become human.

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!

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.

Ah, Robin Hood: Men in Tights...


There is a good, funny movie in there. At least I always thought so. However, Mel Brooks had, in my opinion, began to loose his touch by this time. I guess one might say that what he thought was funny... just was not funny anymore. That said, much of the humor still works, even if it is buried.

I grew up on The Last Starfighter. It is a wonderfully fun and entertaining film. However, it is not free of problems. It drags a bit here and there. Mainly, I wanted to keep the story focused on Alex and keep the tension and threat focused there. Mainly, the subplot with the Beta Unit has been mostly removed. I felt this would better focus the story on Alex and keep the tension up (although removing anything with Catherine Mary Stewart is heartbreaking!).

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.

Batman is wrongly implicated in a series of murders of mob bosses actually done by a new vigilante assassin.

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.

I have always been intrigued with Legend because of the movie posters and the people involved in making the film, but it wasn’t until the lost Director’s Cut was released on Blu-ray in 2011 that I decided to finally sit down and watch it. After watching the different versions of the film, I thought the Director's Cut was the best of the bunch, but felt like it was hampered by some of the editing and childish humor. So I set out to make an edit that addressed those issues and hopefully create a more tonally consistent, polished film.

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.

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)

Using my B+ Movie Edition as a foundation (including animation enhancements), this cut completely removes the Olympus scenes, as well as any explicit reference to the gods' interference. This, alongside a few more liberal trims, allows for an action-focused cut for when you just want to blitz through the film, cut to the chase and enjoy a fast-paced adventure.

Thor Love and Thunder arrived in cinemas to the sounds of raucus laughter, and the sound of footsteps as people walked out of the cinema, disgusted at what a blundering fool Thor had become. Whilst many people enjoyed Taika Waititi's unique blend of humour and emotion, There are many people who felt he had taken it too far.

Thor Love and Thunder Minus Comedy takes the worst of the comedy out and aims to focus on Thor's emotional journey, rediscovering love and accentuating the threatening presence of Gorr the god-butcher.

Thor discovers that Gorr is aiming to kill all gods and sets out on a mission to raise an army to rescue the abducted children of Asgard. It's not yet clear how this army will come about but on the way, he meets the enigmatic Zeus whose allegiances are never quite clear, and rekindles a romance with Jane Foster who has her own secrets.