The movie is about the united states war on drugs and what does it mean for the ones affected by it, actively and passively. We get to experience it through Kate (as she´s us) and aren´t able to fathom the politics of it.
Additionally Taylor Sheridan incorporated the view of a mexican police officer, named SIlvio. That´s the point where my thoughts and edit comes in. As Sheridans approach and intend is just, i never connected to SIlvio and his fight to provide for his family. Perhaps we shouldn´t. Therefore i got the feeling that the movies grip is loosen on me. So i thought:
What would it be like, if all reference to silvios background is cut and he´s just a corrupt cop who´s merly a tool for both sites? Alejandro certainly doesn´t care much as well as the cartel.
What this war does to mexican people is a little more in-depth with Solimas Sequel.

The Extended Cut with the early structure altered back to that of the Theatrical Cut.

The usual removal of superfluous shots and scenes for a tighter narrative and less distraction, plus a remixed beginning for a little misdirection.

This edit retells the story of Joker in four parts and leans into the unreliable nature of the character.

This edit began with a need to cut all the jokes that ruined the tension of the action, and the pacing of the dialogue. Underneath all those bad jokes was a strong and intense film, so those jokes and attempts at humor were cut. And added deleted scenes were put in to ehance the dramatic feel.

New credits
Trimmed a few scenes.
Replaced the original William Olvis score with Angelo Badalamenti where possible.
A new altered open ending

This edit combines all three of the Lunar themed episodes into one extended TV movie.

This edit aims to improve on the pace of the original in areas where it is unnecessarily slow, as well as remove all reference to the spiders.

This edit aims to keep the ambiguity of whether Reese can be trusted and if his story is even true for as long as possible. The audience is learning information along with Sarah instead of being way ahead of her.

- Replace the majority of the music with music from other films in the series.
- Up the pace. This movie has a weird structure in that there really isn't a big action scene till almost halfway through the film, and then it's just non-stop action for the second half. The middle third of the film needs some serious trims to get the film moving.
- Remove a lot of the over the top John Woo moments. I love John Woo, and I definitely still want it to feel like a John Woo film, but they go so hard on some of his trademarks that it ventures into parody. Slow motion scenes that drag on or show the same shot from 5 different angles will be trimmed. Some of the slow-mo will be trimmed just for action pacing.

Even with the shutting down of the X-Files, Mulder & Scully find themselves once again uncovering clues to the ongoing government conspiracy they have been seeking to uncover for the last 5 years.

File X-S5E21 - Mulder and Scully discover a government coverup in connection to an alien virus.
File X-S5E22 - The X-Files have been shut down and Scully has vanished after suddenly falling ill to what Mulder believes is an alien virus.

An Irish terrorist seeks revenge on Jack Ryan and his family after the death of his brother at the hands of Ryan.

Shutter Island retold in the style of Memento. Scenes have been rearranged and the story altered to give a new ending.

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.

A tighter, more focused story of savvy criminal defense lawyer, known for doing the right thing for the wrong people, who decides to use his connections for some quick cash. But the House always wins in the end.

There are some great scenes and monologues in this movie that I wanted to highlight, and some terrible acting and monologues I wanted to remove. For MANY reasons, I ended up removing the whole Malkina subplot and kept her to a simple strong woman that was to intimidating for Reiner. Then, there simply wasn't enough character development (with good writing) for any of the women IMO, so I ended up focusing on the POV of the Counselor mainly, removing most all the scenes without the Counselor or Reiner involved. With a tandem story of the drug shipment's journey from Juarez to Chicago.

The film has been expanded with 7 minutes of footage from La La Land

Part Special Project/part Fan-fix of a Hitchcock classic, this edit favours the parent's perspective with an aim to keep the audience just as much in the dark. Cuts and trims for pacing have been made with the modern viewer in mind, along with the removal of unnecessary exposition and awkward humour. The intro, outro and Albert Hall sequences have also been re-scored with more recent and polished recordings (original audio also included).

A View to a Kill is often classified as Roger Moore's one outing too far - in other words, it's the Bond film where he's too old to play the part. However, that in itself has never bothered me - why can't we have an older version of Bond anyways? But there's little doubt that A View to a Kill is not a perfect Bond film. From the ill advised use of the Beach Boys song "California Girls" during the opening ski chase, to the over use of sexual innuendos which even for Moore are a little too much, to the inconsistent quality of editing and choreography for some of the fight scenes, there's still plenty to fix here for a faneditor.

JAWS 2 - Extended with every last scrap of analog and digital deleted footage available

MI6 agent, James Bond, earns his 00 agent license to kill and becomes the infamous 007.

Spider-Man 3 Back and Black follows the struggles between Peter Parker and Mary Jane Watson's relationship, and also more focuses on the side of Sandman and not as much focusing the attention on Venom.

Zach's synopsis: By removing Edward Norton’s voiceover, FIGHT CLUB gets to be a much more introspective and artsy film.

All I've done past that is adjust and restructure some shots to flow better with the lack of narration.

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.

Licence to Kill stands out in the Bond series for its sense of danger, brutal villains, and Timothy Dalton's driven 007 – but it's got problems, including off-tone comedy, perplexing love interests, and an obligation to franchise expectations. Licence to Kill: Recut aims to eliminate these problems.

The Living Daylights stands out in the Bond series for its mix of Cold War espionage and escapist adventure, its tender romance, and Timothy Dalton’s vulnerable 007 – but it’s got problems, including ineffective villains, unnecessary comedy, and an overcomplicated plot. The Living Daylights: Recut aims to eliminate these problems.

Millionaire loaner Nicholas Van Orton receives a birthday present from his brother, a game to bring fun to his life, or take it all away….

Spectre was an attempt by Eon Productions and director Sam Mendes to embrace the grandiose nature of the Bond films of yesteryear, both in terms of the locales used, the scope of the picture and in bringing back the arch villain Blofeld and the Spectre organisation. Whilst it was wildly successful at the box-office, the reception on the film was very mixed. Some reveled in the large scale nature of the film, whilst others cited a poor script, lacklustre direction and a poorly executed idea of linking all the Daniel Craig Bond films together - not to mention the little controversial storyline regarding Blofeld being related to Bond as an adoptive brother.

B+ edit number 3 is a light trimming of the excellent 80’s cult B-movie “The Hidden”. As per usual, the narrative is kept mostly intact, with light trims for pacing and cuts made in favour of removing poor FX, weak acting, trashy elements and misplaced humour. With only 4 minutes cut, The Hidden: B+ Movie Edition is marginally shorter, but considerably tighter, with a tone more consistent and suited to its higher tier script.

I want to focus on the story of the Titanic in 1912 - not the additional story set to 1997, and the sinking of the ship. I want to focus on the humanity. I want to focus on the brutality. And I want to put the tragedy in focus. I want us to see how the people - not just Jack and Rose, dealt with the disaster, and how the rich felt for the poor, and how the poor felt for the rich. There is so much kindness and humanity along with the brutality of this story, and much of it is in the narrative already - but overshadowed by the focus on Jack and Rose. And much of it is in the deleted scenes already.

This edit removes all references to Bond being old. Instead, he is simply old-fashioned and off his game due to injury. Additionally, a new gun barrel sequence opens the movie, two scenes are rescored, and the Roger Moore-esque casino brawl is removed, among other changes.

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.

The Bride must kill her ex-boss and lover Bill who betrayed her at her wedding ceremony, shot her in the head and took away her unborn daughter. But first, she must make the other four members of the Deadly Viper Assassination Squad suffer.

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.

After a showdown between Cooper and his doppelgänger, Cooper must find the person he's desperately sought for so long: Laura Palmer.

Part V combines and trims episodes 1, 8, 17, and 18.

Cooper finally recovers and makes his way back to Twin Peaks, the same destination as his evil doppelgänger. Worlds collide in this penultimate part!

Part IV combines and trims episodes 13 - 16.

Evil Cooper, also known as Mr. C, continues to search for the coordinates he so desperately seeks, coordinates that will lead him to the fabled entity known as Judy.

Part III combines and trims episodes 8 - 12.

Cooper has escaped the Lodge but now is living the life of his double Dougie Jones. Unable to communicate or do more than simple tasks, Cooper must navigate the complex world Dougie was living.

Part II combines and trims episodes 4 - 7.

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). [UPDATED to "Version 1.3" on June 2023]

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).