No flashback structure. No voice-overs. Altered POV shots. Far less crummy CGI and wirework.

In this sequel to The Atom Man, Superman's battle against his most dangerous foe continues. Just when the Atom Man is about to destroy Metropolis, the Kryptonite power in his blood runs out. In order to get ahold of one of the remaining pieces of Kryptonite, he teams up with the sinister Sydney. Knowing that Clark Kent is Superman, they lure the mild mannered reporter into a trap, intent on finishing him off for good, so they can finally rule the world.

Atom Man in Metropolis is a story arc spanning 19 episodes. The original episodes have a running time of about 12 minutes, including an intro and an outro, a commercial break and recaps, as well as many drawn-out scenes of repetitive or expositional dialog. In order to enhance the pacing I removed all of the unnecessary stuff, rearranged bits of dialog, and cut some episodes almost entirely. I also added music, which the originals didn't have at all, and several sound effects.

Thomas Anderson was living the high life. Drugs, women, cash - all for the taking. But when The Man gives him a raw deal, he's on the run for his life. The militant Morpheus transports him to the future world of 1999, and trains him in the savage killing techniques of Kung Fu. Assuming the slasher alias Neo, he then embarks on a deadly game... of death. Trapped in a world of violence, addiction, and perversion, he is pursued by electronic monstrosities, twisted organ thieves, and the telepathic Federal Agent Smith. Now he must make a choice: kill them all... or die trying!

Back in 1696, Reverend Jonathan Hawthorne condemned a coven of witches to death, burning them without remorse. Three hundred years later Heidi Hawthorne receives a mysterious record that unleashes dark forces from the past. Something wicked has returned and Heidi slips into its sinister grasp.

The original season 1 of Buffy is full of monster-of-the-week episodes that do little to develop the season's main themes and characters. This movie I made of the first season takes the important themes and brings them to life in a story that makes sense as a movie.
In order to do that I took the liberty to change some of the story, restructure other parts and give new meaning to certain characters.

As the Galactica Fleet follows the path toward Earth given to them by the mysterious beings of light, they encounter new forces which may bring their salvation, or a new oppressive force as dangerous as the Cylons. As the opposing sides fight for supremacy within the Terran System, Adama must decide the course of action for the destiny of not only their own people, but the destiny of Terra.

All 22 deleted scenes (23 minutes) have been restored to the second 2007 'The Thick Of It' Special to create the second of two feature length films. This extended cut includes both the deleted scenes and the 'Oposition Extra' footage.

This edit of Moonraker tries to eliminate a lot of the silliness that was prominent in what is considered one of the cheesiest Bond films of all. A few quick cuts has now made Jaws seem more threatening, Bond a little more clever since now he isn’t saying something stupid every 30 seconds (“Play it again, Sam!”), and some of the eye rolling scenes have been scrapped. I have also completely rescored the cable car fight and the speed boat chase as well as added additional sound effects to those scenes.

From the minds of David Morell and Sylvester Stallone comes one of the most eagerly awaited television series in history. Spanning 26 years of shooting, we follow the adventures of decorated Vietnam war veteran, John Rambo, in Rambo - A Warrior’s Journey.

The purpose of the edit is to tell the journey of US soldier John Rambo after he returns from the Vietnam war, starting of course with his run in with Sheriff Teasle in the “quiet” town of Hope, through a 26 year journey which ends with the civil war in Burma.

After the tragic death of his wife, Frank Bannister discovers he can communicate with the dead. When a demonic spirit wreaks havoc on his small town, he may be the only one who can stop it.

One of the biggest complaints I heard about Superman Returns was that it stayed too close to the pace and structure of Superman The Movie. The biggest complaint I have with Superman Returns, is that it didn’t.

In STM, the world we are introduced to is unveiled to us in a way that is focused and engaging (for the time) by introducing us to, and remaining with, the characters that matter to us. They matter to us because they set up who Superman will become and where he came from. By the time we have arrived in Metropolis we believe and are invested in Clark Kent and how this character is going to make his way in a world that is, for all intents and purposes, our own.

In Superman Returns, that 40 minutes of investment conveyed to us in STM is instead written for us on a text card. The introduction to Kal-El’s origins is a voiceover and the opening shot is of a Gothic mansion with manic characters. We are simultaneously being asked to believe in the film as a continuation of the world introduced to us in STM whilst in the first 6 minutes of the film we are told in no uncertain terms that this world is most definitely not that one, and we still have no character to attach to. When Superman does finally appear we have no idea where he has been and really, do we care?

My Re-Edit seeks to address this.

I've been a lifelong Marx Brothers fan from my earliest memories. I could debate with myself all day about which of their 13 films is the best ('A Day At The Races'?). But I can say with no doubt that most of their films come with certain baggage...

Due to the commercial neccesities of the time and due to the radical nature of their comedy they usually peppered the popular songs of the day throughout the films, to keep people happy. At the time, this formula was boxoffice dynamite but some of these songs have not aged well and I almost always fast-forward through them (Other songs are
still masterpieces, 'Cosi-Cosa' for example). Also sometimes the plots, subplots and supporting talent isn't up to the match of The Brothers' firecracker humour. But fast-forwarding through that material isn't really possible, so wouldn't it be wonderful to have a collection of these films with all the killer and none of the filler?