Shortened to 133 minutes, focused on action and main plotline, with most of the character backstories removed or significantly shortened, this version relates heavily to 70s aesthetics but is not limited to it. The movie got used, damaged look and most of the music was replaced with some 70s (but not only) funk, rock, and cues taken from another movie soundtracks and some TV series themes.

Remixed version of Zack Snyder's Justice League is 47 minutes shorter, restructured and reframed to 2.31:1 with some theatrical additions and new opening credits sequence based on "Motherbox clip". Some scenes has been rearranged - for example: Bruce Wayne starts searching for Aquaman after the "history lesson" and we meet Flash earlier. Most of the sequel baits present in official version are gone, also removed are many scenes which were not necessary to keep the plot going. Movie ends just like theatrical cut without extended epilogue.

This divisive little piece of now-obscure Superman media was released around the peak of marketing for Superman Returns. It's been widely criticised by fans of Superman: The Animated Series for, amongst other things, inconsistent continuity and characterisations (particularly with Lex Luthor) as well as bait-and-switch storytelling revolving around Clark wanting to share his secret with Lois Lane.

Many fans were disappointed that this film felt more like an Elseworlds tale and not an authentic 'bridge' between Superman: TAS and Justice League.

I've gone back and forth on whether or not I should do this for a while, but recently I watched a pretty good 50 or so minute version of it from an editor called Fanedit895. This version realized the potential of the story by rearranging scenes and deleting all sequences with Lex Luthor to avoid even touching on his characterizations, as well as removing the bait-and-switch so Lois knows.

So impressed was I that I decided the time had come to tackle this head on myself, but I wanted to set it apart from what this editor had managed, and have decided to try to cut it down to a TV episode length.

The edit went through several versions, and, through consultation with both Fanedit885 and FE.org's very own MusicEd921, the version available here was finally cranked out. It's fascinating to see just how much good was buried under all the more unnecessary stuff and that you can edit this in a number of interesting ways.

The Shadow Knows celebrates the gorgeous sets and costumes (using the Shout Factory blu-ray as source) and Jerry Goldsmith's score (adding cues from the Intrada CDs). Ying-Ko's backstory is shown through three dreams, letting the film open in medias res on the bridge. The dreams build up in awfulness: recurring reminders of his ruthless past.
One of the most influential and long-lived pulp characters, The Shadow has been a radio drama host/character, the hero of 325 novels, and has appeared in comics, TV shorts and films since 1930. Building on Walter Gibson's stories from 1939-1940, The Shadow fights his nemesis, Shiwan Khan, who plans to take over the world by holding New York City to ransom with an atom bomb. Using his power "to cloud men’s minds”, the Shadow comes to the city’s rescue with guns blazing.

Superman II has already had its history of different official and unofficial, so doing a new cut of the film isn't reinventing the reel or anything.

This Expanded version uses the Donner Cut as a basis, and adding in footage and scenes from the Theatrical Cut and a few other sources to try and to assemble a more complete version of Donner's own cut.

As an adult I have never felt a ton of love for due to the outrageous color scheme, and the makeup fx were always downright nuts to me as well. Its amazing that this came out the year after the first Burton Batman movie - its a complete ripoff, blasphemous in retrospect really. I can't believe I didn't notice back then it was THIS similar to the Batman. Hindsight is 20/20.

But I was amazed at how I could actually appreciate everything in this movie without all the color - even the makeup isn't quite as bad - it seems like THE PERFECT movie that a Young Bruce Wayne would have watched. There are so many similarities to Batman, besides of course the Elfman soundtrack: Big Boy seems like a hybrid of the Joker and the Penguin, Dick Tracy seems like Batman if he were a cop, the "Kid" is basically Robin. Elliot Ness similarities, sure, but this is a superhero before there were superheroes. Its so weird how much this copies and tries to be a prequel. I don't think I noticed before with all the color and ridiculous makeup. But it also hit some pretty iconic "noir" beats too.

Main Changes:

• B&W

• More noir vibes, more adult focus. Tracy edited to have a bit more confidence, less doubt, except when it comes to women.

• Original songs trimmed when the narrative allows, Miles Davis added where possible.

• Removed excess shots of bad makeup.

• Lots of dumb lines removed or edited for pacing.

• Big Boy lines are trimmed to seem darker and more menacing, less of a parody.
(That worked well for a while. Then, he had a few jokes that landed that I couldn't remove. So Big Boy starts off more menacing, but I let Pacino off the leash after a while.)

...

AtoBtoX is a chronologically restructured version of Deadpool with the deleted and extended scenes reinstated.

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 .

The Amazing Spider-Man 2 in the simplest and most cohesive structure that it can be.

TASM2: Spark of Life goes far to re-edit action sequences with new and extended shots to allow a clearer perception of events, cut a lot of the unimportant subplots out (Parker Parents, Aunt May, Oscorp/Rhino/Sinister 6, Plane Crash, etc.), adding portions of deleted scenes back in, refocusing the story on whats important, and overall trying to bring some closure to a duology that tried to be a franchise.

Once Upon a Super Duper Deadpool 2 differs from the original source simply because it has two additional versions of the movie interwoven with it.

Brilliant neurosurgeon Stephen Strange must find a way to heal his ailing body. His quest brings him to Kamar-Taj in Nepal where he studies under the Ancient One, who teaches him the ways of magic and alternate realities. With new skills of interdimensional travel and spells, Strange soon discovers that he must protect the world from a deadly enemy who is out to destroy it.

The Mystical Cut extends the magical film with a few new scenes and an all new ending. Three new deleted and extended scenes with the alternate film conclusion have been masterfully reintegrated adding two more minutes into the theatrical cut.

Months back, clickbait merchants and rumour mongers were keen to share news that there would be some kind of Deadpool connection in the ill-fated Dark Phoenix movie. While this somewhat manifested a year earlier in Deadpool 2 with the X-Men's cameo in that film, there was no surprise cameo from Wade for this.

So while binging both movies I worked out a way of integrating several choice scenes from Deadpool 2 into a cut of Dark Phoenix that gives the movie not just something that brings two well received X-Film franchises together (and yes, the fact both of these films have the same initials in their titles doesn't escape me), but also provides closure to the series that doesn't corrupt the timeline the way the original version of Dark Phoenix did, and also sets up a hypothetical fifth film in the First Class timeline to show the saga of the X-Men really ought to have continued.

Two other minor tweeks aside, I left the rest of the movie alone

A simple extended edition of Spider-Man: Far From Home, reintegrating three deleted scenes back into the film, adding four extra minutes of content.

An epic two-in-one edit of Avengers: Infinity War and Avengers: Endgame. Seamlessly combining the two films, along with credits scenes from Ant-Man and the Wasp and Captain Marvel. Additionally, there has been much cut from both films to remove some of the crappy dialogue and humour, to make for the most digestible and tolerable rewatch experience.