The main goals here are to strip out the government in-fighting subplot aspects of this future version of our world, and many of the other distracting elements mentioned in the unfavorable reviews. Hopefully this will allow a simply "corporate overlords vs the disadvanaged" overarching theme to shine through. I felt the slim and simple plot meant the story needed to be told much quicker, so we've gone from 109min down to 79min for this edit. Short little sci-fi tale.

Secretary Delacourt's role is changed to simple the lead defender of the space station for the ultra wealthy. Her tactics and use of Kruger are questioned by no one. Criticism of her portrayal highlight her accent, so her dialogue has been extremely reduced. Kruger's arc is simplified as well as he is no longer fired, he is just a violent psychopath. John Carlyle is now simple "one of the rich", seen as simple uncaring and an easy target. Frey is no longer a love interest of Max - she is simply someone from his past he sees again. But he has no promises to keep with her.

A woman angry at the world is forced to care when she begins to see past the surface. Cassie didn't ask for any of this, but must decide to let those around her die, or to risk vulnerability and stop a killer.

This feels like a bad superhero movie from the early 2000s, so I treated it as such and just focused on Milo's story. And of course the terrible post credits scene is removed.

Main Goals

- Cut corny jokes, removing unimportant eye-rolling moments
- Remove Kordax dialogue and AQ1 flashbacks when possible
- Move Arthur's introduction until after Black Manta finds the trident and five months later
- Dial back much of the the overall movie exposition
- Removal of giant bugs scenes
Mild LUT update for a bit blacker blacks and more contrast, to feel more epic.

Bad Movies Made Less Bad Presents:
Lessons Learned the Hard Way.

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.

MANY valid criticisms have been made about this film, which means it will most likely be another trademark "Bad Movies Made Less Bad" edit. The main goals here are:
- Remove Amon's POV as much as possible
- Minimize the hypocrisy of the Justice Society morals
- Minimize the overt foreshadowing of Ishmael evil intentions.
- Minimize exposition.
- Replace some needle drops to be more culturally relevant thematically.

I’ve always loved the philosophical questions that the Blade Runner world poses. So I was very excited for Black Lotus, but ended up feeling frustrated at the end of almost every episode in season one, despite so many positives. Odd pacing in dialogue, weak writing, and an overall slow pace. The flashback episode was excruciating. After accepting that it is what it is, I tried to make the best of what we got.

A mainly ZSJL restructured edit that lets the story unfold more naturally, that tightens up ZSJL and adds as much of the best parts of JWJL. More of JWJL Diana struggling with leadership,

From a shallow POV, the original movie is a mix of “The Wolverine” (Japan setting) and Logan (Dies at the end, mentors protégé.) But since the script is a rip off of the 1950s film D.O.A., we lean into that – trying to leave some mystery as long as possible. I love that part of Huntress's mythos is that she crusades to put an end to the crime families. All the violence in this edit is focused on yakuza gangs, so I think this edit ends up working well within the overall idea of Helena Bertinelli, pre New-52. Also that Varrick's agency could actually be Spyral.

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 edit focuses the narrative on the renunciation, criticism, and eventual opposition to the goals of their god Arishem. IMO this movie was a metaphor for the different ways of questioning authority - misguided soldiers, missionaries, colonizers, etc… these basic concepts are I wanted to elevate.

Using Pink Floyd's "Time" as a jumping off point, this edit also includes new songs from Pearl Jam, Massive Attack, Tool, and the Alan Parson's Project.

• 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.

Blueyoda made an incredibly accurate-to-the-comic edit of the terrible theatrical release of Batman : The Killing Joke. For me though, it still didn't capture the darkness I felt when I originally read the comic, lingering on each page to soak it all in, before I moved to the next daunting page. As much as this was about Batman and Joker coming to terms with their similar motivations to become who they are, this was always more of a Joker story, with Batman reacting to it.

Mine breaks comic accuracy for a more cinematic experience, all about the vibe, lots of dialogue cut here and there. Batman talks less, hopefully more stoic. Little FX touches too, like trying to extend Gordon looking up at Batman out of the cage and making is pupils go from tiny to normal to emphasize his mental state better.

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.

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.

**12/2023 Complete Rebuild. Please change list.

"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.
.

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.)

...

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.”
...

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.

• Alfred's dream vacation story is scrubbed.
• All mentions of autopilot are scrubbed.
• The history eraser program is minimized and is no longer a motivation for Selina after Batman saves her from the thugs.
• Countdown to Core Meltdown Timecodes added to Bruce's scenes in the pit to spread out the timing of Bruce's recovery.
• Any verbal mention of time outside of a more evenly paced decent into chaos are removed.
• Bruce dies at the end.
• Blake gets the bag without being called Robin.
• Gordon doesn’t go back to work. He’s lucky he’s not being prosecuted for his perjury, at the minimum!

Goals:
On first watch I loved this movie, so I didn’t change much... just to fix that ending, and to make the end more in line with her character in BvS - that these heroes are awesome but mankind is questionable.

Main Changes:
• Distance this version of Wonder Woman’s origin story from writer Azzarello's New 52 retcon where Wonder Woman is the child of Zeus and Hephaestus, restoring Wonder Woman's made-from-clay origin in the end.

• Make Diana seem less naïve about some basic things like marriage and hand-holding.

• Diminish the role of Dr. Poison to simply a lackey of the General, so her Act 3 disappearance less important (Dr. Poison falls into the easy trope that suggests disability — and in this case, specifically facial disfigurement — means that a character is evil. We never find out Dr. Poison’s backstory and whether her facial scarring caused her to become a villain or happened after she already was one, but the message is the same- we should be afraid of people whose faces and bodies are different from our own.)

• Remove much of the exposition and the Dr. Poison confrontation from the final battle.

• Avoid the strange paradoxical elements from the final Act (i.e. soldiers hugging after the defeat of Ares.)

• Make the end of WW less optimistic, more in line with MoS and BvS that these heroes are awesome but mankind is questionable.

(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.

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

This Man of Steel edit tries to keep the spirit of the original movie, but also find the classic hero inside - to make Clark more like “the noble Superman I grew up with” (yes I am aware how extremely subjective that is).

Its about a confident hero, with boy scout morals almost to a fault. He is confident in his actions but remains hidden from the world due to his personal choice. With the arrival of Zod, Clark Kent must finally reveal himself. This is not an origin story, although his origin is retold. This is about the confident kryptonian boy scout we all recognize, and we watch as Zod forces Clark beyond his limits to save his adopted world.

Main Changes:
• Krypton prologue now begins at Kal’s launch
• Credit sequence from the great Man of Steel: A Symbol of Hope from TM2YC
• Pa Kent doesn’t die for his idea, nor does he tell young Clark that he might have to let people die.
• Bus incident moved to replace tornado incident, focus on “people afraid of what they don’t understand,” which is then re-emphasized by Perry and then again by Martha
• Suit reveal moved to after discussion with priest to emphasis Clark’s overall decision to officially reveal himself to the world.
• Innocent bystanders that might get hurt are removed as much as possible in Smallville battle as well as in Metropolis battle.
• Clark contemplates the aftermath of his battle with Zod on a mountaintop with the memory of Pa Kent.

**2022 Update**
Clark's first flight has been added back in.

My first fan-edit deserved a new look since the original movie was finally released at a considerably higher quality on Blu-ray in April of 2020

As an avid golfer, there are some great golf moments in this movie. There is unfortunately an over-the-top “80s romance” too, which hasn’t aged that well. My editing goal is to focus on the golf.

In this new version, Molly is edited to be “less damsel-like” and seems smarter, more confident. And the golf gets the highlight it deserves with this new upgrade to the film quality.

When I was preparing the cover art, I found an awesome set photos with a monotone color grading that has a cool blue tint. I loved the way the photo felt classic and special. The set photos felt almost “Rat Pack” cool. I love the original movie and especially the new HD release, but the overall color saturation and obviously dated technology made it feel dated as well IMO. So I dove back in and tested an idea.

Personally, I love the new “cool blue noir” look. The footage feels more timeless, and the old technology isn’t as distracting. The fashion looks less distracting too, allowing to focus on the golf.

Both the "Timeless" B&W version and the original color version are available.

Main Changes:
• Remove and much “Comic Book” exposition as possible
• Hide Dr. Staple’s POV and motives until Kevin is shot (to make her seem synonymous with the public view of these people)
• Remove Dr. Staple trying to work with Casey to save Kevin (the Black Clover Society simply plans to kill him)
• Keep the question about the validity of the Kevin and David’s superhero claims in question as long as possible
• Changed the ending to make Mr. Glass the cause of the worldwide video release

Goal:
• Remove as much unnecessary exposition as possible. The last time something is explained, it’s the only time.
• Removed Enchantress Hip-shaking, connect her plans to the larger DC universe
• Less Joker focus and dialogue
• Reveal the team organically, without introductions

Chronological cut, without the Ace Chemicals plotline. Harley, now more of a known entity, is discovering the protections afforded under Joker are slipping away. We meet Harley as a spoiled drunk, still milking the privileges of being Joker’s girlfriend, so her personal growth seems bigger from basic piece of shit to possible new anti-hero. The rest of the major characters are introduced sooner, and Sionis’s displays of sadism ramps up more progressively until he dons the mask.

A tighter, more focused story of the reluctant heir to the kingdom of Atlantis, now with much of the unnecessary exposition as possible removed, Depeche Mode and Pitbull songs removed, "Ocean Master" references removed, and as many plot holes as possible removed.

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.