The original Daft Punk-produced film Electroma, now rescored and re-edited to be a film adaptation of their album, Human After All.

An extended version of the James Mangold Restoration (JMR), with all the f-bombs and all the extended scenes, and the yellow suit ending. and a more fleshed out character arc for Harada.

A partial reconstruction of an earlier version of The Dark Crystal which most notably excises the voiceovers, replaces most of the Skeksis English dialogue with an alien language (as found in the Bluray extras), rearranges and trims only a few scenes.

The grand introduction of Kang the Conqueror to the MCU, featuring Ant-Man and his family! Kang found himself trapped in a place called the quantum realm and met a woman named Janet, She helped him to repair his ship but at the last moment she turned against him and locked his ships engine in stasis with her shrink-tech. Years later, Janet and her family (including Ant-Man) got drawn back down to the quantum realm and now is Kang's chance to escape with the help of Ant-Man, whether he wants to or not!

The super Mario movie is pretty great. But it has a few things keeping it from being a pure Mario movie.

The Kenobi show, trimmed down to a movie length. This series started life as a movie script, and the show just feels like a movie stretched to six hours. This keeps most of the main plot point, but makes it fit as an easily digestible Star Wars film.

INVASION! EARTH-X! ELSEWORLDS! COUNTDOWN!
The Final Chapter is here!

The CRISIS has arrived!

The Multiverse is under attack and only the Heroes of the Arrowverse can save the day.
Bionic Bob takes the 5 part CW television event and unites it into a single epic movie experience!

I noticed there is a lack of TDKR edits and I'm starting to realise why:

The movie isnt fun. It has downright rediculous moments, and it reduces it's main villain to a love interest. On top of this we have a rediculous nuke that goes off in a minute.

"Uh-huh-huh, hey Beavis, these effects aren't so special..."

The purpose of this edit is to improve the low budget, outdated VFX so it still feels like a 1984 Terminator movie, but the laughable moments like painfully obvious Schwarzenegger mannequins and choppy stop motion animation are fixed.

This edit does not change the film's narrative or add deleted scenes.

Arrow Parallel present, for the first time, John Carpenter's 'The Thing' from 1951. While some damage inevitably remains due to the nature of interdimensional travel, the content has been painstakingly restored and largely remains in excellent condition. Please enjoy this insight into an alternate history through what is, quite literally, "The Thing" from another world...

This version has a much shorter pre-tite sequence (with a 'bloody' gun barrel), and in the end, Bond isn't poisoned and doesn't die.

This is Interstellar with some adjustments to make dialogue and character interactions feel more natural, and with the removal of what feels to me like forced conflict. In particular, this edit completely removes the conflict between Murphy and Tom on the farm. There is no intercutting back to Earth while Cooper is in distress on Mann's planet.

I love the Hunger Games books, and I thought the movies were well done adaptations, but there were some aspects I thought could be trimmed and the pacing of the final movies improved. Originally I was going to leave the first two movies alone and just work on the last one, but earlier this year I watched MisterCooper's fantastic edit of the Hunger Games movies into an 8 episode miniseries. Because movies 2-4 were so connected the miniseries treatment worked really well. Mine is heavily inspired by his edit so please check out his if you're interested!

I don't want this to sound like I am bashing MisterCooper's edit because I really enjoyed it and mine is heavily inspired by his. But I did have some things I wanted to change, mainly around pacing, a couple story choices, and the music. Most of his series worked really well for me, but some of the pacing didn't feel right, such as starting his third episode with the last few minutes in the arena from the first movie. It felt anticlimactic to me to resolve the first movie in the initial ten minutes of that episode. His Catching Fire arena episode also ended up being a lot longer than the rest of his episodes, and while that isn't inherently bad I wanted to find a way to make the episode lengths more similar across the board. I also wanted some different story and music choices, such as my edit getting rid of most of the Gale romance from the latter movies as I thought it wasn't well done and didn't add much, and then keeping more of the original music from the series.

Like many of the other Disney+ MCU series, this clearly felt like it was originally envisioned as a film that was then stretched out to fill out a limited series. It's a good story with some great moments, but it drags on and is stretched too thin. This edit attempts to reorganize the fairly simple plot into a single film of 2 hours and 22 minutes, an average run time for an MCU film.

IN April 2019 Netflix made available an extended version of the director’s “The Hateful Eight”.

The movie was presented as a miniseries with four episodes each running approximately 50 minutes.

I have used this as the basis for reconstructing The Unavailable Roadshow version of the movie and included my adjustments removing the QT Voiceover flashback and the scoring change I made at the end. The same tweaks I made to the Ex Q.T.V.O Theatrical version Edit are identical here. I have also reinstated the original Chapters from the Theatrical and Roadshow versions rather than adhering to the 4 chapter mini series structure.

Tarantino’s theatrical cut ran 168 minutes, The Roadshow Version ran 187 Minutes while the four episodes of the extended cut make up 210 minutes (but that includes 4 sets of opening and end credits). If you remove those, you have the Roadshow effectively.

This version runs 191 minutes and for now is the longest version you can watch (that's the overture adding 4 mins).

I will not make available The unaltered roadshow version since I believe the flashback to be a serious flaw in tone and pacing.

Hope y’all enjoy this…and for the geeks, I have added those tiny markers in the lower right to indicate extra material compared to the Theatrical version.

Essentially, this project aims to restore James Mangold's original vision for the film, before the studio enforced changes to the script. Knowledge of the original script, and how it was changed, comes directly from Mangold himself as well as behind the scenes commentary. The "identity reveal" of Silver Samurai being the real villain was definitely not part of that script, and Viper was also added because the studio wanted a villain with superpowers. So in this edit, she's been reduced to almost non-existence in the film as well.

Specifically, this edit completely removes the third act and any prior scenes or shots setting it up. The effect of cutting this is that it eliminates a plot-hole fuelled twist that comes totally out of left field, but that it also returns the story to being told almost exclusively from Logan's point-of-view; thus honouring Mangold's original vision, for a small-scale neo-noir grounded in real world stakes -- rather than a VFX heavy tent-pole designed to compete with bigger-scale films from that year.

I have helped Silver Screen Samurai come up with the broad strokes of the final act, but they created the first nightmare and the end of the ninja battle until the airport scene all on their own, in order to fulfil their vision completely.

CHANGES INTRODUCED IN 2.0:
Added back deleted Harada backstory (absent in 1.0)
New transition to final battle, created by Silver Screen Samurai

This is a fanmix of Peter Weir's classic The Truman Show, reimagined as a psychological thriller in the style of Hitchcock/Lynch, viewed exclusively through Truman's perspective.

This is my 1080p high definition rebuild of Dune The Alternative Edition Redux, my 2012 fanedit (which was in 480 standard definition) of David Lynch's 1984 science fiction film.

This fanedit has twice been officially released on Blu-ray as the ‘Spicediver Cut’ by Koch Films Germany (now Plaion Pictures):
1. On the Dune Ultimate Edition box set in 2022 (standard definition edition upscaled to 720p)
2. On the Dune Ultimate Edition box set reissued in 2024 (contains the Special 1080p Edition).

This fanedit is my love letter to John Carpenter's classic horror film "The Thing" but also to that beautiful decade that was the 80s. There are many, many movie and pop culture references throughout; there's a new soundtrack, alternate dialog, new visual effects (some so subtle only the most hardcore The Thing fans will notice) and more Easter eggs than Palmer's got dutchies. Basically, I threw everything but the kitchen sink at this Thing.

This is a "Rey Nobody" edit, removing her link to Palpatine. The other major change is that Leia dies toward the beginning of the film, removing her from the plot.

The core idea is to strengthen the ties to The Force Awakens and The Last Jedi to give a clear character arc to both Rey and Kylo Ren.

I also removed some unnecessary jokes and tidied up some action beats. The goal is to create a fun, engaging movie that satisfies as an ending to these character's stories.

• Disclaimer: Another edit admittedly for a small audience – those that likes Dune 2021 but thought the 1984 version was too confusing. Not for Lynch fans as probably too much is cut for them.

Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet's exclusive supply of the most precious resource in existence - a commodity capable of unlocking humanity's greatest potential - only those who can conquer their fear will survive.

This edit focuses on Paul’s journey to awakening, telling only a part one story while avoiding Lynch's wild third act altogether, leaving the weirder parts for the theoretical Part 2 and avoiding the audience-distancing elements until they would have better understanding of the Dune Universe.

This should just be an exciting teaser, using Lynch's visuals, into the world of Frank Herbert's Dune and make you want to learn more. There are many nods to deeper meaning of motivations that can be found in the book for the other characters, but if their arc is not fully filmed in high quality, I try to just give them enough to be interesting and warrant a deeper dive into the source material.

The re-telling of the Eastrail 177 Trilogy in SPLIT UNBREAKABLE GLASS was the first part of an experiment to retool these movies 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.

In what may be a fanediting first, this version takes extensive material NOT used in SPLIT UNBREAKABLE GLASS (Dr Fletcher and David's marital issues) and tells the same (or similar tale) as an alternate version of the events from a very different perspective. Over 50% of this version of events is newly repuposed and previously unused and differently structured. With a different resolution and enough left untold to permit both edits to surprise and re-reveal, UNBREAKABLE GLASS SPLIT and SPLIT UNBREAKABLE GLASS can be watched in any order and still shine a BRIGHT light on M/ Night Shyamalan's genius, patience and discipline in anchoring these characters in the real world.

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.

Frank Herbert's Dune is a fantastic miniseries adaptation of the original novel, but what would it look like as a feature length film?

A fan edit that combines The Hobbit trilogy into one film that closely follows the book and also sits better with The Lord of the Rings film trilogy with regards to visuals / physics / combat. However, other than atmosphere, each story's tone and narrative will still be distinct without any forced references; the focus has been brought back to Bilbo's adventure with only a few subtle nods to the ensuing trilogy remaining.

Child's Play (1988) with a restructuring that aims to restore writer Don Mancini's original intentions of leaving it ambiguous during the first half whether Chucky is actually alive or not.

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 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).

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.

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.

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.

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.

Major Changes:

• All scenes that show a digitized young "real" Kevin Flynn are removed. Clu is the only one to wear the Young Kevin face.

• Scenes in the real world are extremely trimmed – we are in the world of TRON by the 11th minute of the movie. No sequel bait, no franchise seeds.

• Terrible dialogue is trimmed wherever possible to remove the cringe factor. (Lots of “whats his problem” and “now this I can do” type stuff.)

• Quorra is edited to be less the "born sexy yesterday" trope (a woman defined both by her immense sex appeal and her intense childlike naivety, a figure created almost entirely to be leered over or as a prize to be won by the male protagonist.)

• The “infinitely wise and infinitely naïve” aspects of the ISOs, and that they will “CHANGE THE WORLD,” is downplayed. Kevin simply feels responsible for her life, teaching her and protecting her, like the father he SHOULD have been to Sam.

• Tron’s final change of sides is adjusted slightly. Some of his lines were removed (more mysterious) and his color change happened during the mental change. This allows him to simply “turn off” in the water instead of looking like there's a chance he is coming back when his color changes in the water. That was just confusing.

• "Show, don’t tell" principles in effect as much as possible.

This edit creates a narrative that focuses on Trust and provides a way for our heroes to live beyond the final conflict.

Phase IV is a cult sci-fi movie like no other. Often derided as a failed attempt to make an intelligent creature feature, it was to be the only feature film made by famous graphic designer Saul Bass, and is undeservedly grouped in with later 70’s B movie features such as Empire of the Ants, The Swarm and the like. To be truthful, this is similar to saying 2001: A Space Odyssey should sit alongside Battle Beyond the Stars. Paramount didn’t know what they had, and even cut Bass’ remarkable 5 minute montage style ending.

(All three movies generally focus on the inherent nature of mankind.)

Main changes:
• Remove the Africa incident and change public reaction to events of MoS.
• Better establish the classic Kryptonian boy scout in the first Act.
• Remove Batman killing people (he still “lets” bad guys die, but doesn’t kill outright)
• Refine Lex into a better villain – less weird, more obviously paranoid, less daddy issues, more calculated (i.e. making doomsday as a backup plan more understandable.)
• Clarify the conflict the world has with Superman – its all about fear.
• Batman doesn’t actually see the future, does not see the Flash
• Change Batman’s moral return to be prodded by fear and the similarities to his parent’s killing - not the realization that their mothers have the same name.
No foreshadowing of Superman’s resurrection.

'The Penultimate Cut' is named because it's supposed to be one step back from 'The Final Cut'. Ridley Scott's final/ultimate version of 'Blade Runner' but how it used to look and feel.

The addition of various scenes from The Extended Edition from the Collectors 2 disc set, brand new shots, expansion of surround sound fidelity where possible, additional sound design, trimming of various original elements and a re-scored and re-edited finale. There has also been extensive repair, re-composition, grading and clean up work put into the project.

The aim of this project was to give the viewer a single intense Godzilla experience by combining the best elements from Godzilla (2014) with a streamlined Godzilla (2019) .

This edit featured a restructured narrative and 9 reinstated deleted scenes

The year is 1940. As Hitler’s forces storm across Europe, Winston Churchill is elected the new Prime Minister of the United Kingdom. His leadership is immediately tested when hundreds of thousands of British and Allied troops become trapped on the beaches of Dunkirk, with the Germans closing in. As the desperate battle for survival unfolds on land, sea and air, Churchill must fight his own battles to launch a daring rescue effort across the English Channel. This fan edit combines the intense frontline action of Dunkirk with the backroom political intrigue of Darkest Hour, to create an epic supercut that tells the full story of the Dunkirk evacuation

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

This cut concludes the story of the Definitive Anti-Cringe Cut of The Last Jedi. It removes plot points that go nowhere, reduces character appearences that do not move the story forward and changes the fates of key characters in the saga, once again providing some surprises for viewers of the original film.

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.

Logan battles his primal paternal intuition as he makes his way through a dark fairy tale landscape filled with southern gothic grotesqueries. As his health fails him he finds himself operating on instincts he thought long lost, as if his destiny were already decided. As he passes into the realm of myth he finally realizes what he had been fighting for all those years.

The 'Entirely Respectable Editions' seek to remove all material that is silly, overplayed, misjudged, overly comical, ridiculous and generally inconsistent with the more serious tone established in the earlier 'Lord of the Rings' Trilogy. It is not a radical restructure, or a two-film cut and does not set out to streamline narrative, quicken pacing, or remove characters and plot-threads. The more time we spend in Middle Earth the better, I just want Middle Earth to be a more sensible place while we're there.

This edit aims to provide a more complete, satisfying and enjoyable telling of Elton John’s story, particularly for fans. Deleted scenes are restored, including Elton’s first suicide attempt and a subplot regarding the AIDS crisis. Two egregious factual inaccuracies are removed: Elton taking his last name from John Lennon (the real-life origin, from blues singer Long John Baldry, is well-known) and Elton playing his ‘80s hits in the ‘60s. The tone and pacing are also improved by cutting Elton’s last argument with his mother (a miserable scene that is too similar to the argument with Bernie Taupin directly following it). Finally, a couple musical Easter eggs are added to the film’s score.

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.

The original release is a pretty boring movie, we follow Chris Pratt's character, Jim, throughout the film, and see his personal struggles with his fate, and his relationship with Jennifer Lawrence's character, Aurora, flourish. If you've seen the movie then you know the plot, but, if you haven't, then that's all I can really tell you without ruining it.

Essentially what this edit does is rearrange the movie to follow Aurora, which makes for a much more interesting viewing experience - activating the psychological elements that the original film set up.