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

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.

Moonraker is the film that famously sent Bond to outer space. After the success of The Spy Who Loved Me, the producers wanted to go one step further and go even bigger. That, combined with the obvious influence felt by successful films like Star Wars and Close Encounters of the Third Kind, led to one of the most successful but divisive films in the series' long history.

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.

While SCREAM 4 was mostly considered as a return to form after the lackluster third installment, I still believed that the pacing and overall tone of the film could be improved with the addition of deleted scenes and the removal of some humor and other bits that hurt the movie.

Gluttony. Greed. Sloth. Wrath. Pride. Lust. Envy. Two cops track a brilliant and elusive killer who orchestrates a string of horrific murders, each kill targeting a practitioner of one of the Seven Deadly Sins. The Sinful Cut extends an almost perfect film with an all new opening an several deleted scenes. Six new and extended scenes have been masterfully reintegrated into the movie with 6 more minutes of Fincher Footage.

A New York cabbie and author of a conspiracy theory newsletter seeks the aid of a government employee after he falls victim to a conspiracy that threatens his life.

When Captain America awakens after 70 years of suspended animation, he must navigate a modern world where nothing is black and white and conspiracy lurks around every corner.

Die Hard is the pinnacle of action movie goodness in my opinion and cannot be improved upon as its completely perfect as it is. However as its one of my favourite films I was intrigued whether I could put a different spin on it to give it some fresh appeal. It struck me that as McClane spends nearly the entire runtime of the movie apart from all the other protagonists I could maybe use splitscreen to give the impression of multiple events taking place at once. Thus the idea for Die Hard 'til Midnight was born, and the edit evolved as a Die Hard/24 style (semi) real-time thriller.

I'm a big fan of Tim Krabbe's horror novel The Golden Egg and George Sluizer's 1988 movie adaptation Spoorloos. That shocking ending gave me nightmares for weeks. The 1993 American remake didn't work. The story is too blunt and tragic for the Hollywood standards, and to change that is to kill the most terrifying aspect of the film. I do think the US version has a lot going for it tho. Jeff Bridges is completely terrifying and Kiefer is a more likeable lead (which would make the character's fate even more painful to watch).

That's why I decided to recut the film, removing the dumb changes and preserving the essence of the story and its terrifying conclusion. I'm pretty sure it's been done before, but I decided to do my own version and share it with whoever might be interested.

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.

The original 'Source Code' is a good film, but is let down by a shallow and poorly executed twist ending. "Version 1.2" removes the last minute "life" theme and shifts the emphasis to Captain Colter Stevens receiving dignity and closure before embracing his fate. A handful of other small changes have also been made (see cutlist).

My idea is to get rid of all the fake build ups/red herrings and dumb jump scares to turn the film into a more focused supernatural thriller. I also removed most of Bughuul's appearances and made its presence more subtle. I think the way the original cut overexposed the character made its figure less scary. Also rearranged a few scenes in a way that things would make more sense.

My version of Blue Velvet.

My version of Taxi Driver (1976).

Double feature of Nocturnal Animals and Get Out (Personal Justice and Victims).

A DF of Straw Dogs and When a stranger calls.

'John Wick: Point Blank Cut' is black & white with new simple credits for a more classic "timeless" feel. Every bit of dialogue that wasn't needed to advance the plot and inform character is gone, so the gaps between the action sequences are minimal. The Perkins/Marcus/Henry subplot is removed from the last act, to stay focused on John. The flashback/forward framing device is gone, it's all linear.

A Steven Spielberg Double Feature of Duel and Jaws.

The first three Harry Palmer movies (The Ipcress File / Funeral in Berlin / Billion Dollar Brain) recut side-by-side and set to the music of Flying Lotus.

This is a two in one edit of Death Wish and Death Wish II.

This edit depicts the events of Pulp Fiction in chronological order. To achieve one continuous timeline, temporal redundancies had to be avoided by merging those scenes together. The movie now structures as follows: Butch's childhood memories - Title sequence - The Bonnie Situation - Vincent Vega and Marsellus Wallace's Wife - The Gold Watch - Credits.

This is the second double feature of french (horror) movies. First one was Revenge and Pregnant and this one is comparable with the violence in it

My First Double Feature of director David Cronenberg.

In 1999, David Lynch created a pilot for ABC that they rejected. For nearly 20 years the pilot version of Mulholland Drive has been hard to come by and in poor quality due to the VHS source. This fanedit aims to re-create the pilot as closely as possible utilizing an HD source. Now you can experience the masterpiece as it originally was, a historical look into what ultimately became one of the best films of all time.

While every effort has been made to recreate the pilot as it was, due to the limitations of what is available on the officially released version of the film an exact recreation was not possible.

Transcendence: Avid4D Recut presents a non-linear approach to the movie. Character motives and intentions are not immediately clear, and the film will jump back and forth providing the viewer information in pieces. This version is aimed at the first time viewer, as those who have seen the theatrical version will know what happens. In addition to the non-linear story telling, selected scenes have an "aspect perspective" effect in an attempt to mess with the viewer's mind even further!

'The Return of Don Tracy' is a side-by-side "Remix" of 1949's 'Criss Cross' and Soderbergh's own 1995 remake 'The Underneath', set to a new Pop soundtrack.

A side-by-side FanMix of both the '64 and '46 versions of 'The Killers' with a new Pop soundtrack.