A light edit aimed at making the score more "Bondian". Eric Serra's score was a departure from the traditional Bond scores and is quite divisive among Bond fans.

The purpose of this restoration is to partially recreate the theatrical IMAX version of No Time To Die by combining the widescreen 2.39:1 footage from the Blu-ray and the IMAX 1.78:1 sequences from the Open Matte WEB-DL.

Inspired by Blofelds Cat fanedit, 'Never Say McClory Again'. This edit follows a similar path to turn this rogue 007 production into an EON style produced film.

After I finally saw the theatrical cut of No Time To Die (NTTD) I wanted to create a new version so Bond lives, and also be much, much shorter overall.
I thought NTTD was an over-bloated mess. It has beautiful imagery yes. Some of the shootouts and tense scenes are awesome to watch in the environments they're happening in. The callback to On Her Majesty's Secret Service (OHMSS) was actually nice to see, but the Dr. No callback not so much. I know Bond's wife dies in OHMSS so someone dying at the end of NTTD makes sense, like poetry. But I thought the poetry was kind of bad, so I rewrote it and made them all live in a wholesome Bond sort of way.
Also, the original death scene where we get all the various character's reactions to Bond being obliterated by hellfire had me laughing. I was cringing. The music was swelling! Had me dying... The story is mostly very full of itself, but the cinematography and action was fantastic.

This Octopussy cuts the worst special effect: gone is the hot-air balloon in the final battle. In a franchise famed for using real effects over special effects, that balloon was an awful stage prop! It cuts over the top bits: e.g. no swinging on a vine like Tarzan. It cuts the worst sexism bits: no ogling the bosom of Q's lab assistant, and no "good with figures" joke about the minor Bond girl.

Live and Let Die, the Goldilocks version: tempo is dialed up (no more looking at your watch during the boat race), jokes and stupidity are dialed down, Bondgirls are less bumbling, sheriff is mostly removed, and nobody pops like a balloon.

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.

Quantum of Solace but with Black & White flashbacks to Casino Royale in order to make it more emotionaly involving.
The first hour of Casino Royale is skipped over so the first flashback is of Bond meeting Vesper on the train.

The Living Daylights makes for a striking introduction to Timothy Dalton's iteration of James Bond (particularly after the Roger Moore era), not to mention a charming and exciting throwback to classical espionage adventures and the Ian Fleming novels themselves. It is, however, also held back by the sensibilities of the time, antiquated pacing (even for when it was released), and an apparent desire to not stray too far from the campier and leerier vibes of the films that preceded it.
The aim of this edit was to bring the standard of the film up to that of the central performance. I wanted to bring out the exciting, thrilling and romantic qualities of the film whilst downplaying its flaws, all while giving the technical execution of the film a more modern edge.

Moved the pre credits Skydive sequence till after the monastary scene.
Used the precredits scene from A View To A Kill as the new opeing for Moonraker.
Removed Jaws having a girlfriend and many of the Wile E. Coyote comedy slapstick involving Jaws.
Removed the gondola-hovercraft in St. Marks square.
And lastly toned down some of the other silly gags such as the use of the Magnificent Seven theme, but still tried to keep the tone of Moonraker fun and lighthearted.

The usual removal of superfluous shots and scenes for a tighter narrative and less distraction, plus a remixed beginning for a little misdirection.

You Only Live Twice - the film where Bond becomes Japanese. Hmmm, I've always struggled with that one. There's loads to enjoy in what was supposed to be Connery's swan song as 007, but it's also a film which has not aged particularly well, primarily because of the awkward plot line which sees Bond literally undergo a cosmetic procedure to look Japanese. It never really worked back in the 60's, but now it just comes across as uncomfortable and insulting in some ways.
On the plus side however, this is a gorgeous looking film, with incredible production design and a proper travelogue feel to it.

James Bond, in Brosnan's second adventure, is as much a boy with toys as he is a dinosaur from the Cold War. We meet media mogul Carver who will push countries to war if it sells more newspapers. After Bond secures nuclear missiles in the outstanding opening sequence, he finds a GPS encoder and an ex-girlfriend. The trail leads him to Asia where he teams up with Chinese spy Wai Lin. Together they must find a stealth vessel and stop the UK from declaring war on China.

This fanedit restores K.D. Lang's song to the opening credits (Sheryl Crow now plays over the closing credits). The edit is faster paced, with fewer lame jokes, less wooden acting, and fewer machine guns.

Moonraker is the film that famously sent Bond to outer space. After the success of The Spy Who Loved Me, the producers wanted to go one step further and go even bigger. That, combined with the obvious influence felt by successful films like Star Wars and Close Encounters of the Third Kind, led to one of the most successful but divisive films in the series' long history.

A View to a Kill - Moore's Final Chase cuts the bloat, the cheap laughs, and much screaming. No Beach Boys, gratuitous sex, or shower scene. The springboard atop the Eiffel Tower is erased. The fire truck chase is trimmed.

James Bond's 1999 adventure, The World Is Not Enough, is a mixed bag. Interesting ideas and a largely coherent plot, buried under an overdose of 1990's action flick, Roger Moor-ish one-liners, and too much effort to misdirect the audience as to who the main villain is. Brosnan plays Bond much closer to Daniel Craig's roughness than to Roger Moore's suaveness. But he's given so many cheesy Moore lines that this Bond feels tediously immature. This can be improved!

Tighten the editing film, remove the silly bits, replace the Bill Conti score with classic John Barry music from other Bond films.

A View to a Kill is often classified as Roger Moore's one outing too far - in other words, it's the Bond film where he's too old to play the part. However, that in itself has never bothered me - why can't we have an older version of Bond anyways? But there's little doubt that A View to a Kill is not a perfect Bond film. From the ill advised use of the Beach Boys song "California Girls" during the opening ski chase, to the over use of sexual innuendos which even for Moore are a little too much, to the inconsistent quality of editing and choreography for some of the fight scenes, there's still plenty to fix here for a faneditor.

MI6 agent, James Bond, earns his 00 agent license to kill and becomes the infamous 007.

The Man With The Golden Gun is now taken a little more seriously, which means no silly karate fight outside of the karate school, a shorter boat chase without the annoying kid selling an elephant statue and most importantly, no J.W. Pepper (which unfortunately meant losing the entire car chase).

Roger Moore's first foray into the spy world of Bond was a pretty good start in terms of seriousness, but some of the outdated slang and J.W. Pepper really kills the feeling of this being a classic James Bond movie. Also, the boat chase was like 20 minutes long.

After the success of Timothy Dalton's first outing as James Bond in The Living Daylights, anticipation was high for the follow up. However, with a more ruthless take on the character and more violence which caused particular trouble in the UK market where it became the first Bond film to receive a 15 rating, Licence To Kill did suffer somewhat at the box office. It was still a hit, but due to legal issues it would be the last Bond film for 7 long years and the last Dalton Bond film.

It's a shame, as the film on the whole has a lot to offer. Dalton is terrific as Bond, arguably the closest anyone has got to playing the character as Fleming wrote him, and Robert Davi's Sanchez is one of the most realistic and finest villains in the long history of the series. However, the film is not without its problems. Considering John Glen is an experienced Bond director, the film feels somewhat clumsy at times, particularly in some of the editing and most noticeably in the performance of Talisa Soto as Sanchez's girlfriend, Lupe. Also, such is the serious nature of Dalton's Bond, the few attempts at humor do not work that well.

James Bond changed in the 1980s. With the retirement of Roger Moore and introduction of Timothy Dalton, we transition from action movie with-a-wink to spy thriller. Well... mostly.
Dalton, inspired by the novels, presents a colder, more cynical Bond. His approach to win the confidence of a beautiful woman behind the Cold War's Iron Curtain, reminds of Richard Burton's performance in the Spy Who Came In From The Cold.
Perhaps the filmmakers feared that changing Bond overnight from the suave, cheery gentleman to a cynical smoking alcoholic, would feel as jarring to the audience as dislocating your shoulder. Perhaps they were right to fill Dalton's first adventure with comedic moments. In hindsight, however, we know the audience responded just fine to the comparable transition from suave and jocular Pierce Brosnan to steely-eyed and cynical Daniel Craig.

Licence to Kill stands out in the Bond series for its sense of danger, brutal villains, and Timothy Dalton's driven 007 – but it's got problems, including off-tone comedy, perplexing love interests, and an obligation to franchise expectations. Licence to Kill: Recut aims to eliminate these problems.

The Living Daylights stands out in the Bond series for its mix of Cold War espionage and escapist adventure, its tender romance, and Timothy Dalton’s vulnerable 007 – but it’s got problems, including ineffective villains, unnecessary comedy, and an overcomplicated plot. The Living Daylights: Recut aims to eliminate these problems.

A defiant James Bond heads back into the field to stop insidious cyber terrorist Sylva from exacting his revenge on M. Who will be left standing when the job's done?

Spectre was an attempt by Eon Productions and director Sam Mendes to embrace the grandiose nature of the Bond films of yesteryear, both in terms of the locales used, the scope of the picture and in bringing back the arch villain Blofeld and the Spectre organisation. Whilst it was wildly successful at the box-office, the reception on the film was very mixed. Some reveled in the large scale nature of the film, whilst others cited a poor script, lacklustre direction and a poorly executed idea of linking all the Daniel Craig Bond films together - not to mention the little controversial storyline regarding Blofeld being related to Bond as an adoptive brother.

This edit removes all references to Bond being old. Instead, he is simply old-fashioned and off his game due to injury. Additionally, a new gun barrel sequence opens the movie, two scenes are rescored, and the Roger Moore-esque casino brawl is removed, among other changes.

'Thunderball' is a spectacular Bond movie that needs more focus, and less water. The fanedit 'Thunderball: The Kiss Kiss Bang Bang Cut' cuts nine minutes of water and nine more to streamline the story and to make Bond's steam-room romp consensual..

'Skyfall: The Past Haunts Us' trims the endless jabs at Bond and M for their long service. It removes the implausible Tube derailment, and tightens the final battle.
The Updated Version fixes "tinny" sound during the final gunfire battle, cuts one shot of that battle, and trims the shower scene to match Problem Eliminator's elegant improvement (though with different music).

After a secret mission in Mexico City, James Bond has one more loose end to tie up.

After receiving a message from a dead colleague, 007 undertakes a mission that leads to a discovery that will change everything: the many tentacled organization known as Spectre.

This edit emphasizes Bond’s character arc of learning to see the big picture. He is a new 00, but not a rookie agent or a young man. Action sequences are trimmed and the romance is streamlined in an attempt to focus the story.

Ian Fleming’s 007 gets a new lease of life in the form of newcomer George Lazenby, as Bond finds himself on a mission to Switzerland which could lead to the final capture of Ernst Stavro Blofeld, the head of Spectre. Obtaining the information on Blofeld’s whereabouts however, comes at a cost, particularly when it derives from the head of a European Crime Syndicate, the daughter of whom, becomes part of a deal which will have unforeseen personal consequences for Bond.

The purpose of Skyfallen is purely to streamline this 50th anniversary movie in an attempt to tighten the pacing somewhat. Also, it's to rein in some of Bardem's overacting in the part of the main villain, Silva, and hopefully make him a bit more threatening in the process. Subtle edits are also attempted to give it that "classic" Bond feel, including use of music from other Bond movies.

Thunderball really is Connery's last great performance as 007 before he completely checked out of the role. It's the last one where he really owns the film and proves why he is still regarded as the best actor to ever play 007. It's also full of exotic location shots, great music and one of the most famous villain plots in the series, involving stolen nuclear warheads but the film itself has always been criticized, mainly due to a plodding pace, the bulk of which is due to some overlong underwater sequences.

Thunderball failed to become the "best bond ever" as its theatrical tagline promises because it almost feels rushed, as if the editing was unfinished in certain instances. Well, now the editing is finished. Almost no major scenes or sequences have been removed but almost every scene has been trimmed for pacing, resulting in a faster film with an enhanced narrative.

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.

Using a videotape recording of the original 1976 two-part broadcast as a reference source, the ABC OHMSS Preservation Fanedit is a shot-for-shot reproduction of the ABC broadcast which faithfully reproduces all transitions (wipes and dissolves), edit points, censored scenes and/or dialogue.

Die Another Day should have been celebration of everything good about the James Bond franchise. Unfortunately, in trying to throw everything but the kitchen sink at the screen in celebration of 007's 40th anniversary, director Lee Tamahori and the producers ended up with an unfocused movie, riddled with poor innuendo jokes and some ill-advised ventures into the more fantasy CGI arena. The hope with Icarus, is to redress the balance and uncover what I believe is a genuinely good old-fashioned large scale Bond adventure. No invisible car, no CGI tsunami surfing heroics, the poor jokes removed, Icarus attempts to give Pierce Brosnan the Bond swansong he deserved.

This is a heavily edited version of THE WORLD IS NOT ENOUGH. All the bloat is removed, turning it into a leaner, meaner, badder Bond film.

This infuses “Never Say Never Again” with the soul of the Eon OO7.

Removes what was most ludicrous about the film.

From what many consider to be the the worst Bond title song ever, to the frenetic action sequences which have come straight from a Jason Bourne movie, Marc Forster’s take on James Bond struggled to maintain that special identity which separates 007 from the rest of the crowd. For this fanedit, I wanted to try and achieve a few things which I hope may inject the movie with more personal emotion and drum home the feeling that Bond’s trail of vengeance, not to forget Camille’s too, is very much what the film is about.

A much improved take on LIVE AND LET DIE by removing excessive blacksploitation elements and moments of sheer silliness.

By trimming the overlong action sequences and other elements that detract from the story, as well as the re-insertion of deleted scenes, this fan edit provides a better paced, more focused version of agent 007′s first adventure.