To create fifteen 60 mins TV Episodes from Clint Eastwwods NON-WESTERN catalogue in the style of a 1970s/80s TV Series

What if Terminator 2 was a smaller scale, lower budget horror movie— like Terminator 1?
This edit transforms Terminator 2 from an epic action adventure into a more brutal horror flick with older production values and a 1980’s aesthetic. While it’s still “bigger and better” than T1, the focus is now on smaller scale horror rather than epic grandness from a director trying hard to outdo "Die Hard."

The purpose of this edit is to re-conceptualize Season 1 of this amazing series into a two part feature film duology.

It reorganizes the scenes for a more cohesive story, congruous concept and dramatic impact, removing a lot of extraneous filler material. While Season 1 was just plain outstanding (for the most part), it had substantial bloat. I consider this edit an improved, definitive version, and also a good way to watch it again before Season 2 is released—a very full story told in 5 hours instead of 8½ hours.

Overall, this edit is intended to be even more of a gut punch than the original. And the most important thing is:
NO SHITTY PUNS WERE HARMED IN THE MAKING OF THIS FANEDIT.

To create ten 60 mins Episodes from Quentin Tarantino's 10 films to date

To create ten 60 mins Episodes from Quentin Tarantino's 10 films to date.

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The purpose of this edit is to improve the low budget, outdated VFX so it still feels like a 1984 Terminator movie, but the laughable moments like painfully obvious Schwarzenegger mannequins and choppy stop motion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

This cut rearranges the scene order to tell a thought provoking, subtle, compelling story. The result is more of a slow burn-- with gradually escalating conflict (and a little less Hannibal).

This edit focuses on the events of 1912, keeps Rose's narration, and uses the full IMAX aspect ratio throughout. Modern scenes/characters are reduced to an absolute bare minimum. This cut also incorporates limited deleted/extended scenes but only those which further character development of Rose, Jack, and Fabrizio (or otherwise gives better dramatic impact to their scenes).

Summary:
Regraded
Several Jack/Rose deleted scenes added (1080p source)
IMAX aspect ratio throughout
Reworked intro
No more Bill Paxton (Brock) or his annoying sidekick
Focus is on events in 1912
The limited modern scenes have older Rose narrating or show older Rose (no more adventures of the salvage crew)

More natural color grading. Adds dust, weather, and blood FVX. Not all the mission targets are provided to Deckard.

The main goals of this edit are to:
• rescue these characters (and us) from drowning in a sea of expository dialogue
• remove excessive setups and flashbacks
• reduce over the top moments and dialogue

• refine the story progression without revealing too much too soon

• trim overacting, especially of Dortlich and to a lesser degree, Hannibal

• make Hannibal’s parents more likable (or at least less annoying)

This edit gives the viewer the chance to experience and interpret the story as it unfolds rather than constantly being told what is happening and how to feel about it. Commodus’ actions alone are what shows us his depravity, and he actually acts upon his lust for his sister. Lucilla (the sister) is also depicted as a much stronger woman.

New elements of the Tarantino screenplay are incorporated along with a retro, gritty color re-grade and new Tarantin-esque soundtrack and musical scoring. No music/score is borrowed from his other films. Additional blood/gore VFX is the cherry on top of this Hyperviolent Cut. Other edits which used Tarantino's original screenplay seemed to include most/all deleted scene footage which adds new Tony Scott material, including lowbrow penis jokes that does not jive at all with the QT screenplay. Other edits also rearranged scenes at a high level, to give a basic similar arrangement, rather than at a more detailed scene by scene level. IMO this edit is the truest edit (so far) to the spirit of Tartantino's screenplay.

A Kill Bill Vol. 1 + 2 combo NO ANIME cut upscaled to 4K (also available in 1080p). Runtime 3 hours 45 minutes. The best Kill Bill has ever looked.

This edit modernizes the film with a new score and color grading. Downplays the preachy tone and reduce the characters over-verbalizing thoughts, fears and motivations, as if this were a stage play. Finally, it tighten ups action sequences and reduces dated VFX.

The film Hannibal is recut to bring the character back in line with Silence of the Lambs, a sick serial killer, not some romantic fellow with a moral code. A drastically changed ending and other recut footage, incorporating deleted scenes, drastically changes the feel of this film.

ZSJL was a major improvement to the travesty which occurred in 2017; however, Snyder’s 4 hour release was rushed in production and stuffed with significant filler. Releasing such a long cut, open matted, was probably more for production speed than artistic reasons. This cut re-scores, reduces, and rearranges this film for a more epic feel, with greater dramatic impact in a much shorter runtime.

This is my own take on editor, JobWillins, overall concept in his brilliant edit Man of Tomorrow, which merges Man of Steel and Batman v Superman into one film. See further details for how Son of Krypton differs from Man of Tomorrow.

In this edit the story now takes place entirely during 1918, the action sequences are much improved, young Diana receives a more serious portrayal, cartoonish comedy is toned down, and Steve is still funny-- but in scenes where it's warranted. This release intended to be Part 1 of a trilogy followed by my edits Son of Krypton and Justice League: Gods of Earth.

This edit removes the extensive expository dialogue from Gordon, makes the Penguin a strong mob-boss (not a buffoon), changes Batman's overall arc, and restructures the storyline to remove and replace the studio tacked-on flood/shooter ending.

This is a horror version of Willy Wonka and the Chocolate Factory. It uses much but not all of Corridor Crew's VFX. 99% of the music and score is replaced to give it a 70's horror movie vibe. Slightly grindhoused. Warning: rated R imagery. Some viewers may find the content disturbing. Tyler Durden probably spliced some of this film. Enjoy!

In a funkadelic future Los Angeles, a jaded ex-cop hunts down three androids designed to look human, and he isn’t too concerned about killing a human by “mistake.” Whoopsie.

A legendary hitman known as Babayka, comes out of retirement to seek revenge, igniting a killing spree across Rome and New York City.