Latest Fanedits

Get more tension built up in this and add a few more deaths to try and make the 2 movies feel more in line with one another.

It's been 40 years since Laurie Strode survived a vicious attack from crazed killer Michael Myers on Halloween night. Locked up in an institution, Myers manages to escape when his bus transfer goes horribly wrong. Laurie and her estranged family now face a terrifying homecoming when "The Shape" returns to Haddonfield — but this time, she's ready for him.

I added the Rogue One hallway scene and the SC38 Reimagined footage to give Darth Vader a more menacing presence in the film.

Classic Who's Vengeance on Varos, converted to modern aspect ratio, with a new soundtrack.

Tony Benedict receives a tip from the Night Fox fueling his revenge on Danny Ocean and his team.

Diana kept fighting after the events of her first movie in smaller, more hidden humanitarian ways, even though she gave up hope in mankind as a whole. We do not find her in the 80s anti-social and still brooding about Steve this whole time. Instead she is a confident hidden hero, who happens upon a chance that brings him back, and she realizes AGAIN how much she lost. This movie becomes the reason she still thinks about him in the present day JL movies. She was over him in that she knew he was gone the first time, only to have him come back for a while and let him go again. She essentially gets PTSD from this experience, instead of just being lovesick for the full 100 years. (Also, Steve is not inhabiting anyone else’s body in this edit.)

WW84 also should have dialed up the 80's soundtrack. Bill and Teds was shot in '87 and released in '89, so I already knew I couldn't lock myself into ‘84 if I wanted to mix the soundtracks. Bill and ted's gave me tons of source material to work with, but I needed more, so since Bill and Ted wanted to work with Van Halen, Van Halen leads the additional songs needed. There is also Judas Priest, Pat Benatar, The Expressions, Killing Joke, Vangelis, Oingo Boingo, Def Leppard, Scorpions, Harold Faltermayer and Kenny Loggins.

The Snyder Cut and the Theatrical Cut, mixed and blended to create a theatrically viable version of Justice League.

Superhero Movie is almost forgotten parody of the comic book hero genre, and a very short one at that, running at barely 75 minutes.
The Full Hourglass integrates 30 new, extended and alternate scenes, jokes gags and more for a brand new way to see the Dragonfly's origin!
Sixteen minutes have been added to the film, to create a more complete spoof experience!

- 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.

The original adaptation of the concise graphic novel had added material to "pad it up" to a feature length running time to justify the price tag of a DVD or blu-ray. Unfortunately most of the added material is garbage. This removes almost all the added material and restores this to a proper adaptation of the graphic novel.

Star Wars: Abridged is meant to tell the Skywalker saga as succinctly as possible, taking all nine films and cutting them down to three. While many narrative threads remain the same, some have been vastly altered.

This is a detailed look at how SPLIT UNBREAKABLE GLASS fanedit was made, without spoilers.
The project looks at:
- Event Removal (from Dialogue and visuals)
- Modifying existing music cues
- Replacing Music
- Adding Music
- Mid Sentence dialogue removal
- Creating new scenes
- Repurposing material
- Sound mixing
- Credit roll creation
- Full audio /foley rebuilds
- and more

Two Tales restructures the Extended Cut of American Gangster from one that inter-cuts the stories of Richie Roberts and Frank Lucas into one that is built around three distinct sections; Richie's story, Frank's story, and once they collide.

The very first Suicide Squad movie ever made (originally in everything but name), now trimmed to make it less cheesy and more worthy of being both called a proper Suicide Squad film and a spin-off of the Arkham videogames.

President elect Lex Luthor uses an approaching Kryptonite meteor en route to Earth to convince people that Superman is mentally unbalanced, making him a danger to everyone. Batman and Power Girl assist Superman as all of them become public enemy number one. With the meteor approaching and Lex himself proving unhinged, can anybody avert disaster?

The Der Stolz Edition of Inglourious Basterds extends the film as four new and extended scenes are masterfully integrated back into the film, reincorperating 6 minutes of new footage.

All new footage with German speaking has been subtitled to match the rest of the film, to engage the audience with an even deeper cut of this masterpiece.

Jurassic World is my second favourite movie in the Jurassic Park franchise but I personally find it flawed in several ways.

The All Super, No Hero Edition adds back 10 new, extended and alternate scenes, extending Wade Wilson's typical origin story by 5 minutes.

Insert fourth wall break here.

The Incredible Hulk: Struggle for Control aims to fit better in the MCU. Informative exposition from the deleted scenes is added, while trimmed for pacing. It shows more of Banner and Ross' motivations, less Betty, less close-up CGI Hulk, more Doc Samson, and more SHIELD:
- Several deleted scenes are added (back) in that add depth to Banner and Ross' characters and makes their motivations clearer. E.g. Banner trying to shoot himself in the opening scene, and Ross saying "He wants to get rid of it. [...] I want what's inside of him."
- Betty in Hulk (2003) was a plausible scientist working with genius Bruce, who showed a strength of character consistent with the comics. Disappointingly, 2008 Betty shows neither. Betty's aspirated one-or-two word lines while staring in the middle distance, suggest that she's constantly at a loss for what to do or think. She is trimmed to look less clueless.
- The CGI is frustrating. The Hulk's steroids-ripped body looks less real than Hulk 2003 and repeatedly fails to inhabit the space it's in. The close-ups look the weakest. They got trims when their bodies failed to convince.
- Fleshing out Doc Samson's character helps to flesh out both Bruce and Betty's. Also, I find the perspective interesting to see how an ordinary human responds when a super-powered person enters his life.
- SHIELD's presence reaffirms the continuity within the MCU. Added to their minor mention in the film is Marvel's One-Shot "The Consultant" as post-credit scene.

The re-telling of the Eastrail 177 Trilogy with a new narrative structure to facilitate surprises, adjustments to reveals, new parallels, new opening and closings and much much more. One can be surprised again.

Redundant threads (marriage issues from Unbreakable and Dr Fletcher from Slpit) and over- exposition (from Glass) have been removed. Scoring has been adjusted to permit music motifs to run through the narrative consistently, Deleted material has been used only where the narrative requires it.

New opening and closing titles have been created and all crew are credited (source IMDB).

The original movie has been re-visualized as long lost VHS recording of a Network television show from 1986. It has been edited into a typical 47 minute length episode with created Opening & Closing Titles and commercial breaks. Authentic commercials from 1986 (of a lower video quality) have been used. The movie has been reframed/cropped as 640x480 with Pan & Scan where needed, and slightly degraded with the use of Gaussian Blur and a VHS tracking overlay to help sell the illusion of VHS.

Main Changes:
No V.O. - "Show, don't tell" philosophy (try to give more discovery of mysteries to the viewer) means no voiceover at all - not even the memory voiceover from Gaff as Deckard looks at the origami unicorn. The goal is to tell the story with the emotions of the characters instead of spoon-feeding info.

No Unicorn Dream - For me, the "Deckard is a replicant" question is more interesting as an open-ended question than the execution we got, so no unicorn dreams here. The audience today is much more aware of the tech and concepts of the movie than the average 80s viewer, so the movie keeps the original spirit but leaves more dots to connect for the modern viewer.

More Pollution - I love all the new higher Res releases of Blade Runner, but to me the better resolution removed a lot of the gitty pollution-like vibe to the world of Blade Runner. Here, the outside scenes are adjusted to feel dirtier, which also allowed me to insert upscaled footage of deleted scenes that hopefully stand out less.

No Dates - all references to the year dates are removed.

No "Trapped Rachael" Scene - I know I am going to get hate for this but there is one particualr part of this film which has not aged well. People like to say this movie is about replicants because of Roy Batty and crew, but simutaneously write off how utter fucked up Rachael's experience must be too, arguing that the scene is needed to show an aspect Deckards growth in regards how he treats replicants, how he fundamentally sees them.

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.

The Star Trek TOS episode "That Which Survives" in a version that gets Spock, who's wildly out of character here, in line with his portrayal in the rest of the show.

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.

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

The Expanded Edition aims to extend The Phantom Menace to its maximum possible length with finished effects.

Fourteen new, alternate and extended scenes have been masterfully restored added back into Episode I with 6 more minutes of footage.

"Paradise" is easily one of my favorite franchise-saving fanedit of all time. It highlights what is great about the prequels, and ditches everything else. I watched it endlessly.

Over time, I wondered - what would a chronological edit look like? And after having gotten the blessing of jobwillins himself, I began to experiment. The initial simple chronological re-edit lost all the magic and tension that made Paradise great.

But I kept playing with different ways to try to keep the "David-centric" story, and settled on this two-episode format. This is an admittedly inferior re-imagining of Paradise, but still a fun and different way to focus on the deeper questions raised in these films, each about 70 minutes.
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This edit is based upon the straight chronology of the Theatrical Cut, interweaved with much of the Final Cut’s additional material. I also excised anything that insults audience intelligence or prevents this film from being the sweeping, ever-moving-forward epic it so desperately wants to be.

It (A Film) is a fanmix/fanfix of It (2017) and It: Chapter Two (2019). Both films have been combined and restructured to follow Stephen King's novel as close as possible. This edit also intends to re-work Chapter Two to address some of the weaker aspects of the sequel and improve the film.

Airplane! Long Haul Edition integrates all the deleted and extended scenes from the TV Cut, using a 16mm scan of an original print of the rare cut.

Eight new and extended scenes have been restored and reintegrated into the film, adding three minutes of new gags, jokes and laughs.

Rocketman: Long, Long Time Edition adds back 10 new, extended and alternate scenes, as well as incorperating 4 extended and alternate musical numbers. Over 30 minutes of new footage has been re-edited into the film, but 9 minutes has been cut out, as a lot of the musical numbers have been replaced with these new alternate versions.

The More Roads Edition adds back 8 new scenes, shots and moments into the second installment of one of the greatest movie trilogies of all time. Four minutes of new footage has been added in from a variety of sources to create the longest version of the film.

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.

The 1st and 3rd acts of The Place Beyond the Pines are intercut to highlight the similarities between Luke Glanton and his son.

With over 900 changes this is the ultimate fix. Two F Bombs remain

These two movies turn Star Trek Picard into two classic style Trek Movies with a 3 act structure and many hundered of changes, scoring tweaks, and much much more

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

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.

"Avengers Age Of Ultron is a little more grown up than the first one, a little scarier, a little funkier." Joss Whedon.

THAT WAS A LIE! The goal is to keep that original promise. Removing the worst of the humor, creating a threatening villain and tightening up the pace of the final act, transforming the movie from an underwhelming letdown into a worthwhile sequel to the original.

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.)

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Frank Miller's Dark Knight Returns is the key graphic novel that modernized and re-energized the Batman character in 1986. Previously, most people knew Batman only from the colorful 1966 TV show or the silly Superfriends cartoons. Of course, many other artists have contributed to Batman's evolution throughout the years, such as Alan Moore, Neil Adams, Jim Aparo, Denny O'Neil and Dick Giordano. Without Dark Knight Returns, however, Tim Burton's Batman or any of the later movies wouldn't have existed. Basically, the character of Batman is what he is today thanks to Frank Miller's masterpiece.

In 2012, Warner released an animated adaptation of the graphic novel which was completely misunderstood by the creative team. Many of the things that made the graphic novel great were ignored or re-interpreted poorly. The first offence they committed was to divide the story in 2 chapters instead of the original 4, thus they had to reorganize the structure to make that change work even if it was nonsensical. Other changes made that didn’t make sense include: introducing the Joker as a drooling idiot; the bright-as-day action sequences with Batman in kung-fu fights that lasted comically long; the awful narration that replaced the tortured inner dialogue from the graphic novel that made it seem like Bruce Wayne was senile, etc. The list goes on and on.

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

My goal was to streamline the storylines of the main characters through all three movies, as if the end was planned from the beginning. Kylo and Rey were of course most important.

• Kylo’s arc is pretty well fleshed out already, the most cohesive character arc of the ST, imo. As much as possible stays for Kylo.

• Rey needs to stay a nobody. And she slowly discovers her powers. She does not hit a stormtrooper with her first shot, and she less powered along the way as much as possible. She is just a special “nobody.”

• Poe’s character arc is nowhere near as complex as Kylo, but pretty much laid out for us.

• Finn is not force sensitive. This means he does not ever make and successful attacks with the lightsaber as well. Only once does he ask Rey about a boyfriend, from then on he keeps friendship motivations. Admittedly, Finn kinda disappears in the final fight, but there are just too many absurd parts to leave him in (no horses on spaceships in this cut!)

• Characters like Hux and Rose have been severely sidelined as they just do not have satisfying character arcs. Both simply fade out of importance in the final movie, but I hope I have not made it too obvious. Hux is no spy, simply muscled out by other power hungry commanders. I loved Rose in TLJ, but without adequate character development in TROS, it was best to minimize her to simply a person helping Finn on HIS character arc. Consequently, the scenes at Canto Bight are greatly reduced, and Rose and Finn simply do not pilot speeders at the battle of Crait.

Then I also audited the whole edit, based on a great youtube video essay about “showing, not telling.”
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I added several deleted scenes and promos to provide more time spent with the humans (and androids) and removed several scenes and appearances of the aliens either because I didn't find the CGI convincing or felt excessive screen time diminished their impact.

1997. The future.

Snake Plissken is pulling off one of the most daring heists of the late 20th Century at the Colorado Fedaral Reserve, but with the United States Police Force is hot on his heels, will he be able to ... ESCAPE FROM COLORADO?

This edit cuts down Series 1 of Peaky Blinders into a feature length film. The focus of the film is on Tommy Shelby, the expansion of the Peaky Blinders gang, and its rivalries with Campbell’s police force, Billy Kimber’s Gang, and the Lee Gang, with the IRA and Freddy Thorne’s communists being secondary antagonists.