For me, Connery and Brosnan were the vibe that exemplifies what Bond should be, so the Craig generation always felt a bit off. It has a much darker and more brooding tone, and while Craig does have some swagger it's usually done with a sulk.

This edit attempts to reassemble the Craig era into a smaller single-film-length package that keeps the best elements in a smooth narrative flow. As a result some of the slower and darker elements fall by the wayside and Bond feels more like the older eras.

The focus is the Spectre plot arc, and the bond girls were pared down to Vesper Lynd, Severine, and Madeleine so it felt like a cohesive film and not a mess of non-essential characters. This also ends up making the Vesper and Mr White plot arcs much more coherent since they aren't spread across a few films.

I wasn't a huge fan of the overall story of NTTD, but there is a gem of a short film hidden within it that has a completely different tone so I decided to pull that out and make Ana De Armas' sequence a standalone story, reworking a conversation Bond has with M to act as a proper ending.

George Miller's Furiosa, with fewer explicit ties to Fury Road, and a modest reduction in runtime.

A music video mashup of Seth Ickerman's video for Turbo Killer (Carpenter Brut, 2016) and Blood Machines (2019), featuring the music of Carpenter Brut.

This film has some great action and drama but it's slathered in drone shots and Hollywood explosions - the edit trims it down to remove the breaks in pacing, get into the meat of the film a little faster without losing the initial character building, and excise some of the overly dramatic car crashes and nauseating drone shots scattered liberally throughout the film.

Removing some subplots = lighter movie.
Removing Rocket's dark past = lighter tone.
Removing aggression between characters = lighter feel.
Rocket being out of commission = lighter team.

A lighter movie to help you feel more empathy with the main cast!

"Top Gun: Maverick" aka "Top Gun 2" is one of the better-made '80s revivals that have come out in recent years. It received very high marks from critics and audiences. However, I noticed some glaring plot issues, an overly long runtime at 130 minutes, too much mediocre music, flat characters, and illogical or impossible events. "Mach 10" is, as the name implies, a faster, shorter, more streamlined 95-minute revision of "Maverick" with exciting new music and sound effects.

If you thought John Wick Chapter 4 was too long, look no further. This edit tightens the pace with no story changes, creating less exhausting and much more enjoyable version of the film.

Since the disappearance of his son, Jon Anderton has dedicated his life to fighting crime BEFORE it happens. but when the system designed to predict crimes identifies him as a future murderer, he is put on a time limit to prove his innocence before he can be arrested.

10 years after Order 66, the empire is searching for a rebel network called The Path. A group of inquisitors led by the Grand Inquisitor search for a young Jedi, Nari, who helps the people of Tatooine find said Path.
But one inquisitor, Reva, is obsessed by another goal...Kenobi.

In 1984, a terminator was sent from Skynet to kill Sarah Connor, who would give birth to the leader of the opposition. In 1991, Skynet sent a new terminator. A T-1000 unit designed to kill John himself. And it is up to a reprogrammed T-800 unit, as well as Sarah Connor, to stop the T-1000 from succeeding in its mission.

To create a version of Inglourious Basterds, which is less self-indulgent, at 102 mins, without any music and then add back in a single score from another movie to change the entire tone.

Steve Austin aka The Six Million Dollar Man encounters an enemy unlike any other! During a mission, Steve notices that his friend Fred isn't acting normal. In fact, he's acting a little robotic! Just when Steve thinks he can spot a robot, one may have been hiding in plain sight all along! How can you spot the difference between a robot and a person? Well, that is the six million dollar question!

This is not explicitly a Predator movie until Naru first encounters what she’s hunting. Dialogue is at a bare minimum, with any Commanche characters limited to their native tongue and scenes re-cut to allow for better dub synchronisation; audio tweaks have also been made to help the dub sit better in the film mix. Further changes are made to tighten some of the action and pull attention away from weaker FX elements.

This takes all four Hunger Games films and condenses them into two long films broken at a natural spot in the story. It improves the pacing and the impact of key moments from the books, as well as making it feel less teen-oriented.

Back in March, I released a project that I had been working on on and off known as Dune: Kwisatz Haderach -- Part 1, which was an experimental cut I made to see if you could trim down the first part of Denis Villeneuve's adaptation of the epic science fiction novel, Dune, and still retain a cohesive story while doing so. Once I released that project, I knew I had to give Dune: Part 2 the Kwisatz Haderach treatment as well. With nearly 30 minutes of footage cut from the original 2 hr 46 min runtime, I was able to create a streamlined yet still cohesive cut of Dune Part 2.

I am proud to present Dune: Kwisatz Haderach -- Part 2.

After discovering a mysterious briefcase left by his father, adolescent Peter Parker embarks on a quest to uncover the truth about his parents' disappearance, further complicating his life as he deals with newfound superpowers, his first love and, most importantly, growing up.

"The Birth of a Hero: A Spider-Man Story" is a retelling of the most infamous chapter in the web-slinger's cinematic history that aims to remove most of the superheroics in order to create a more emotionally grounded narrative about Peter Parker finding his place in the world.

For over a thousand generations, the Jedi Order have protected the galaxy. Now, the Galactic Republic is stagnating. Greed and corruption has consumed the senate, and the Trade Federation has struck at this opportunity, invading the small planet of Naboo. To resolve the conflict, rogue Jedi Qui-Gon Jinn and his young apprentice Obi-Wan Kenobi step in to aid the young Queen of Naboo. Along the way, they encounter a vergence in the Force, but little do they know, a shadow from the past is rearing its head, eager to unleash its wrath....

When I first watched The Batman, my instant reaction to the stadium roof scene was that it would be an excellent jumping-off point for Bruce to go on a journey of self-discovery and build himself back up as the Batman we know from the Christopher Nolan series. This would also allow me to cut the prison scenes of Batman Begins, which I've always disliked. So I decided to combine The Batman and Batman Begins together as a single film.

Removes the non-book Green Mist/stolen citizens subplot, adds back music and deleted scenes, and tries to make the whole film a little easier on the eye.

Most edits of The Mandalorian turn it into a movie or try to change it drastically. This is not one of those edits, this is The Mandalorian for those who like The Mandalorian mostly, but want an easier rewatch.

Beyond the normal trims for pacing and likability, this edit removes the most contentious elements of the original film, the Castle Raid and Susan/Caspian “romance” not found in the book.

Deep Impact is a good film, and Armageddon is a well directed B movie with a bunch of money thrown at it. Let's add 'em together! I had this fun little idea a while back and wanted to bring it to the big.... to a screen. So, I cut out the crew from Deep Impact and replaced them with the Armageddon crew. I cut out most of Armageddon, and I cut about half of Deep Impact to make this hybrid called "a sky full of colors", trying my best to let these two wildly different movies balance each other. The hardest part being just how fast Armageddon is, because it's just... so dang fast, and somehow so dang long... Michael Bay, you ol' chap.

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.

Season 3 of Camp Camp but with various trims, including Max's condescending attitude towards David reduced and the beginning of Cameron Campbell's redemption arc removed.

Takes the theatrical cut Blu-ray as the main source and adds most of the deleted and extended scenes exclusive to the Extended Edition DVD, adjusted to match the native HD footage as best as possible. Only a few seconds have been removed, this is still largely the same film that introduced many to the magical land of Narnia.

Boba Fett escapes the Sarlac, gives up bounty hunting, and becomes a friendly tusken tribalist. Years later, as he attempts to gain the respect of a small town on Tatooine by preventing a greedy syndicate from taking control, he befriends a loving rancor. This edit removes scenes that are irrelevant to the plot and also puts everything in chronological order.

“Year of the Dragon” is a great ride. The worldbuilding, the cinematography, Michael Cimino’s direction, Mickey Rourke’s gritty performance as NYC police Captain Stanley White, his balanced contrast with smooth-talking Chinese gangster Joey Tai (John Lone); it all equates to one seriously entertaining film. The flack that Rourke (and Cimino) got for this movie is unfortunate, but understandable. There’s a key issue that makes our flawed protagonist too unlikable, jarringly disrupts the core crime-thriller narrative, involves bad acting, and pushes dopey sexploitation: White’s adulterous pursuit of local Chinatown reporter, Tracy Tzu (Ariane Koizumi; AKA “Ariane”).

By removing the White/Tracy adulterous relationship subplot entirely, I’ve attempted to redeem Mickey Rourke’s character in “Year of the Dragon” as much as possible. I’ve also streamlined the plot to keep focus on what matters: ‘renegade cop who doesn’t follow the rules is on a fanatic moral crusade to clean up crime in Chinatown, colored by his past as a Vietnam vet, and ultimately accelerated by personal vengeance.’

I've always loved the The 13th Warrior. I can remember seeing the trailer for this when I was in high school and thinking just the visuals alone, seeing Arabs and Vikings together, was so cool. Though the film is by no means perfect and suffered from a troubled production, it has some wonderful things going for it including John McTiernan's direction, Jerry Goldsmith's amazing score, and Wolf Kroeger's set design. With all that said, I felt like the final film that was released really suffered from reshoots, especially those done by Michael Crichton, which in my opinion stick out like a sore thumb. So with this edit, I really wanted to focus on removing most of those scenes.

This edit is a companion to the original Resident Evil (2002) film, essentially turning it into a 6 hour trilogy (the series was originally 10 hours long), this does not use the first film in the edit, just the following five films.

Rescore only! I just find that the original version is too quiet and full of silent parts.
I want to fill these parts but also add a different vibe and rescore the whole film.

d'Artagnan seeks to become a Musketeer and avenge the death of his parents. The same Musketeer story, but singularly focused on d'Artagnan's storyline.

I grew up with the US Cut and Paul Gilreath score, so a fleshed out version of that was my intention. I used my original cut as a base and reworked the whole thing from start to finish. I fixed the things I wasn't happy with in the original fan edit and then added and tweaked a lot more.

Between remastering the International Cut (a.k.a. European Theatrical Cut) and reconstructing the US network broadcast cut, I'm sure many of you know that Ridley Scott's 1985 fantasy film, Legend, is one of my favorite films. Having done those edits within the past few months, I decided to reconstruct the UK broadcast television cut for completion sake. The UK television cut, from what I read, is an oddity like the US television cut: whereas the US television cut is essentially the American theatrical print with the Director's Cut (though known only as a workprint during its original creation) version of two sequences with their original music, the UK television cut is also the American theatrical print, with the Tangerine Dream soundtrack, but with the shots of the chef chopping the man on the table omitted, which is quite interesting. Why would the American print be used for UK broadcast instead of the International Cut? Who could really know for certain at this point, but it's still an interesting choice that I wanted to preserve, and do so I have.

For curiosity, posterity and completion sake, I am proud to present Legend: The U.K. TV Cut.

Removed the scenes that cut away to the narrator throughout the film, and rework the story to flow smoothly without interruption.

Japan faces a catastrophic threat when toxic pollution gives rise to Hedorah, a smog monster that feeds on industrial waste and grows exponentially. As Hedorah ravages the environment and threatens human existence, Godzilla emerges to confront this monstrous adversary. Amidst the chaos, humanity desperately seeks a way to halt Hedorah's rampage before it's too late, Leading to a climactic showdown between the King of the Monsters and this pollution-spawned terror at the base of Mt. Fuji.

Legend: The U.S. TV Cut is another personal passion project that has a special place in my heart. I have very fond memories associated with this film, and they have followed me into adulthood, compelling me to do this project. My interest in creating this project would be ignited when I came across a site dedicated to the film and saw various mentions of the TV Cut; the site even had a complete breakdown of the TV Cut written up! After giving a thorough readthrough of the breakdown, I had it in my mind that I was going to recreate this cut to the best of my ability.

I didn’t change much story-wise - just tried to trim the film up as much as possible.

In the original, the first half of the movie flies by quickly and the second half dragged a bit. I’ve tried to fix that by eliminating 20 minutes - most from that second half.

I also tried to cut some of the de-aging shots that did not work in the otherwise fun opening sequence.

With fairly minor cuts this film goes from a good film to a pretty great one in my opinion!

My take on The Phantom Menace. It's pretty conservative story wise, but very active with regards to pacing and tone. I tried to use the same principles for editing that The Phantom Editor used for 'Attack of the Phantom' (but not the original phantom edit) and that I later used for my Return of the Jedi edit. An emphasis has been made on improved pacing and tone, as well as seamlessness and wanting it to feel like it could have been the original film.

Dune: Kwisatz Haderach - Part One is the first of a two part project, and is an experimental cut that explores how much of the film can be cut without turning into a muddled, non-cohesive mess. Cutting twenty-two minutes of footage, I was able to create a shorter, hopefully still satisfying cut of Dune: Part One clocking in at two hours and thirteen minutes.

I am proud to present Dune: Kwisatz Haderach - Part One.

A frame-accurate recreation of the original Super 8 cuts for Harryhausen’s ‘The Golden Voyage of Sinbad’, using a full-screen HD colour source taken from the Indicator release. Featuring multiple audio options, subtitles where relevant, and carefully applied enhancements to stop-motion animation for ‘Sinbad Battles the Monsters’ and ‘Sinbad Duels the Idol with Many Arms’. Black and white ‘purist’ versions with no adjustments to animation are available where relevant.

Bruce Wayne is forced to confront his dual nature as Batman as a brilliant megalomaniac and a psychotic district attorney wreak havoc over Gotham.

I made this edit a couple years ago, at the same time that I made my Terminator 3 edit. I didn't release it because it was a somewhat minor edit that I just made for myself. But recently, on the forums here, on Reddit and in my direct messages, I have seen a few people looking for good edits of Salvation. So I decided I might as well release mine.

Inspired by the shorter format of Marvel's Special Presentations, THE LEGEND OF THE GHOST RIDER is a tight introduction to the character of Johnny Blaze with an "all killer, no filler" approach.

Make the main character more likeable and focus on the ships and crew rather than alien hand to hand combat.

The year is 2024.

Industrial pollution has destroyed the ozone layer, leaving the planet at the mercy of deadly ultraviolet rays. An electromagnetic Shield now protects the Earth by blocking all light from the Sun. Humanity was saved but it has been living in perpetual darkness for decades. A general malaise hangs over the world as society slowly crumbles.

A small group believes the Ozone layer has repaired itself and that the Shield is no longer necessary. They seek out an aging Connor MacLeod for help. But forces from MacLeod’s distant past have also returned. And they aim to finish him off once and for all...

After 15+ years of noodling, I've finally landed on a version of the prequels that I prefer. The main concept is to fix AOTC, the weakest link that brings down the other two, and make TPM lead into it, and ROTS build from it.

The biggest problem I have with these movies isn’t necessarily the content. There’s some stuff I’m not crazy about, such as midichlorians and some of Anakin’s whiney, creepy behavior, sure. However, the biggest problem to me is in the minute to minute pacing. They just feel… weird? Off? Something’s not quite right in every single scene. The most egregious example is AOTC, where seemingly nobody talks like a human being, characters stand around clearly waiting for their cue, and much of the action mostly falls flat.

Even worse, the love story doesn’t work, partly because I think they focused on it way too much. The dialogue between Anakin and Padme is shockingly strange, but the chemistry between the two actors is definitely there. Just letting them spend time together would have sold it enough.

So I’m taking another crack at the Prequels, but I’m starting with AOTC, the biggest problem with the trilogy. Once I get that working, I can build up to it with TPM, and off of it with ROTS. The idea here is to go into every scene and remove that disjointed, stagey, unnatural feeling that permeates the film. Action will be pumped up and pacey, conversations will have that zing that they’re lacking, and the movie will move along at a steady pace.

After 15+ years of noodling, I've finally landed on a version of the prequels that I prefer. The main concept is to fix AOTC, the weakest link that brings down the other two, and make TPM lead into it, and ROTS build from it.

The biggest problem I have with these movies isn’t necessarily the content. There’s some stuff I’m not crazy about, such as midichlorians and some of Anakin’s whiney, creepy behavior, sure. However, the biggest problem to me is in the minute to minute pacing. They just feel… weird? Off? Something’s not quite right in every single scene. The most egregious example is AOTC, where seemingly nobody talks like a human being, characters stand around clearly waiting for their cue, and much of the action mostly falls flat.

Even worse, the love story doesn’t work, partly because I think they focused on it way too much. The dialogue between Anakin and Padme is shockingly strange, but the chemistry between the two actors is definitely there. Just letting them spend time together would have sold it enough.

So I’m taking another crack at the Prequels, but I’m starting with AOTC, the biggest problem with the trilogy. Once I get that working, I can build up to it with TPM, and off of it with ROTS. The idea here is to go into every scene and remove that disjointed, stagey, unnatural feeling that permeates the film. Action will be pumped up and pacey, conversations will have that zing that they’re lacking, and the movie will move along at a steady pace.

There’s a lot of PT edits out there, and I’m not the most technically accomplished editor to tackle them. However, I think my particular knack for action and pace (I’m aware of my strengths as well as my faults) will make these stand out.

After 15+ years of noodling, I've finally landed on a version of the prequels that I prefer. The main concept is to fix AOTC, the weakest link that brings down the other two, and make TPM lead into it, and ROTS build from it.

The biggest problem I have with these movies isn’t necessarily the content. There’s some stuff I’m not crazy about, such as midichlorians and some of Anakin’s whiney, creepy behavior, sure. However, the biggest problem to me is in the minute to minute pacing. They just feel… weird? Off? Something’s not quite right in every single scene. The most egregious example is AOTC, where seemingly nobody talks like a human being, characters stand around clearly waiting for their cue, and much of the action mostly falls flat.

Even worse, the love story doesn’t work, partly because I think they focused on it way too much. The dialogue between Anakin and Padme is shockingly strange, but the chemistry between the two actors is definitely there. Just letting them spend time together would have sold it enough.

So I’m taking another crack at the Prequels, but I’m starting with AOTC, the biggest problem with the trilogy. Once I get that working, I can build up to it with TPM, and off of it with ROTS. The idea here is to go into every scene and remove that disjointed, stagey, unnatural feeling that permeates the film. Action will be pumped up and pacey, conversations will have that zing that they’re lacking, and the movie will move along at a steady pace.

There’s a lot of PT edits out there, and I’m not the most technically accomplished editor to tackle them. However, I think my particular knack for action and pace (I’m aware of my strengths as well as my faults) will make these stand out.

This is for people who think “Please don’t edit Andor, it’s already perfect… I’d take it as movies though.”

This is Andor season one, rearranged into four movies of roughly two hours each, removing no content whatsoever, just focused on smoothly presenting each major A-plot as a movie whilst moving the supporting B-plots around to keep each movie as focused as possible, so each movie is self-contained and easily digestible.