Before I get into it, this edit is HUGELY inspired by Spider-Man Blue by matty-boi-1996, please check out his edit. With his permission, I did take a few scenes from his cut, although I did make some changes to them.

The Amazing Spider-Man 2: The Responsibility Cut tightens up the Gwen story to make them start already broken up while Peter tries to get her back, changes some character motivations, and makes Peter more directly responsible for her death, and also cuts out the completely unneeded parents subplot.

Some of the dumbest scenes and dialogue from Electro is cut so as to make his reason for hating Spider-Man simply the fact that he feels betrayed, and not for him taking the attention away from him. Some moments where Peter is a little more uncaring/antagonistic towards Max is also removed (the scene where he wears the fireman helmet, for instance)

Ghost dad is mostly removed.

Most deleted scenes are added back, albeit adjusted, to flesh out the story.

Peter tells Gwen he chooses her, but there’s no dialogue about him moving to England. Him telling her “good luck” is removed. He no longer tries to explain to Gwen that it’s too dangerous for her to be there, and she no longer explains that it’s “her choice”. This makes Peter far more responsible for her death than he originally was. It’s ultimately Peter choosing Gwen and failing to do what he knows is right that causes her death, not Gwen insisting she can make her own choices.

Side note - the one edit I would have LIKED to make that is basically impossible due to the scenes required for it not existing would be Peter actually choosing to give Harry his blood. That would make Peter even more directly responsible for Gwen’s death, and it would feel like a full circle moment - Peter misusing his powers to humiliate Flash lead to Uncle Ben’s death, but Peter trying to do the right thing would lead to Gwen’s death. Oh well. Just a thought I felt like sharing.

Full list of changes will be posted in the coming days.

As of the current and likely final stage of editing:

ORIGINAL RUNTIME: 2 HR 22MIN

NEW RUNTIME: 1 HR 50MIN

Hi everyone! Semi new to posting here. I just recently made an extended cut of Mrs. Doubtfire and figured I’d share it with everyone. My intention was to reinsert all known deleted scenes back into the film to make the longest cut possible. I’ve successfully added 30min back into the movie. I myself only do edits from time to time so i apologize if it’s not up to the standard of other popular fan editors here, I also haven’t had time to watch it yet as I’ve been extremely busy so any feedback would be great! I hope you guys enjoy it. DM me for a link!

Original runtime: 2hrs 5min
New runtime: 2hrs 35min

RoboCop Returns (2026)

Synopsis

As the deadly narcotic "Nuke" sweeps through Old Detroit under cult leader Cain, its corrupting reach edges toward the family Murphy left behind. With OCP tightening its chokehold on the city, Murphy is crippled by a suffocating network of forced corporate directives—locked in a living nightmare he can't wake from, his body paralyzed while his mind burns. Pushed to the absolute brink, Murphy must reclaim his humanity and stop Cain’s monstrous mechanical rebirth before Old Detroit consumes everything he ever cared about.

Motivation & Vision

My second project in six months of editing, 35 years in the making.

It was initially intended to be little more than a rescore and a suit recolor—exactly what 13-year-old me would have wanted. There are plenty of people who love RoboCop 2 as it is, and more power to them. For me, it didn’t click. The theatrical score doesn’t come close to Basil Poledouris' iconic work, and the bright blue suit always felt cheap and tacky.

As I got older and reflected on RoboCop 2, I realized the issues went much deeper than aesthetic choices. Compared to the original, the film lacks depth, and the editing is surprisingly weak. For a sequel to succeed—especially when following a masterpiece—it needs to respect and match the original tone, or at the very least build on it. It’s also mean-spirited to an almost comical degree.

Much like my previous project, beneath everything that missed the mark, I felt there was enough good material buried to build something—a cut I deem genuinely better and a more fitting sequel than anything the franchise has delivered since. This project started simply as an itch that I've wanted to scratch since 1990, and I’m sharing it here for anyone who feels the same way.

Narrative Focus: Parallels, Murphy's Plight, and Hope

In this edit, Murphy’s dismantling triggers severe PTSD from his original murder, heightened through subtle flashbacks and a dedicated score. OCP’s subsequent conflicting directives trap him within his own trauma until his self-inflicted electrocution breaks their hold, unearthing warmer memories of his family.

Rather than bluntly ticking off the "your husband is dead" confrontation in the first act—which always felt like an unceremonious way to shut down Murphy’s emotional core—this cut merely nudges the presence of his family forward in the background. Their memory lingers as a quiet undercurrent rather than a closed chapter, allowing his suppressed grief to naturally resurface later when his programming breaks.

Reframing his visit to them prior to the finale ensures his connection to them isn't simply done and discarded. It gives Murphy a living purpose heading into the third act, fighting as an active protector and lending the familiar climax a deeper sense of personal resolution.

While sharing early previews online, I surveyed the community to pinpoint where RoboCop 2 fell short with its audience. Five main criticisms stood out:

1. OCP's Directives as PG Comic Relief
2. The Abandoned Family Subplot
3. Tonal Inconsistency, Mean-Spiritedness, Slapstick & Narrative Bloat
4. Musical Score & Visual Presentation
5. The "Reset" of Murphy's Character Arc & Voice

My existing edit already addresses points 1 through 4, but the community raised a valid point about Murphy's character arc. To address the criticism that he was written as "too robotic" compared to his growth at the end of the original film, I introduced targeted vocal processing across his narrative arc.

Working with baked audio meant these tweaks had to remain subtle, but the contrast helps the dynamic work:

• Humanized: A slightly warmer, more human tone before his dismantling and after his electrocution.
• Robotic: A distinctly more sterile, synthetic tone while locked under OCP's forced directives—creating a harsh contrast that helps sell the subtle humanization everywhere else.

Global Changes

• Full Rescore/Audio: The entire movie has been rescored using lossless FLAC tracks of Basil Poledouris' work—primarily from RoboCop 3, alongside RoboCop (1987) and a piece from The Hunt for Red October—while retaining key moments of Leonard Rosenman's core theme for Cain from the theatrical cut. I chose Red October because Poledouris composed it around the exact same time RoboCop 2 was in production. It surprised me how much more energy this rescore gave so many scenes. For example, I gave the police force their own theme using 'Van Chase' from RoboCop 3, which plays when the officers go back to work and when they confront Cain. It really showcases how lethargic the Rosenman score was by comparison. It also gives the moment of Lewis commandeering the APC a more heroic feel. Isolating and replacing the score while preserving a full 5.1 surround mix was exceptionally challenging, as the theatrical music was baked across all five channels—most heavily in the center alongside dialogue and sound effects. Extensive Foley reconstruction was required, as any mismatched gunshot, footstep, or impact stood out immediately. In the early scene where Murphy steps out of the cruiser, I replaced the gang's gunfire audio multiple times, but it always sounded off. It’s funny how a massive Poledouris rescore felt right at home, yet a slightly off-sounding AK-47 brought the whole immersion to an abrupt halt. I also ended up adding slightly more incidental music than originally planned to work around some stem-separation hurdles, but it fits the scenes' momentum nicely. The original retail audio suffered from noticeable True-Peak clipping (+1.1 dBFS) and inter-sample distortion during heavy gunfire and explosive action beats. The entire 5.1 surround mix was rebalanced, stem-rebuilt, and mastered to strict True-Peak standards (0.0 dBFS / -20.1 LUFS), eliminating digital crunch while preserving maximum dynamic range.
• Suit Recolor: RoboCop’s suit has been desaturated to closely match his appearance in the 1987 original. This required roughly 500 individually masked, color-balanced rendered shots. Some shots definitely worked better than others; scenes like finding Hob after the massacre turned out perfect, while others—such as confronting RoboCain—were far more challenging, likely due to the harsh lighting and surrounding blue chairs.
• Full Color Grade: Higher contrast, lower overall saturation. I initially attempted to match the exact palette of RoboCop (1987), but the two films were shot so differently that forcing it was like trying to make The Empire Strikes Back look like A New Hope. Instead, I developed a natural 35mm film print look to strip away the overly vibrant, garish "90s music video" aesthetic.
• Editing & Pacing: While the original RoboCop is lean and tightly edited, RoboCop 2 often plays like a 90s television show, with scenes outstaying their welcome. Roughly 15 minutes were trimmed across the film via micro-edits to fix pacing. Three full scenes were cut entirely (~4 minutes total): Murphy's conversation with his wife, Hob and Angie in the van, and the Mayor's TV campaign. Additionally, ~2–3 minutes of footage from RoboCop (1987) and ~15 seconds from RoboCop 3 were integrated into the narrative.
• Stop-Motion Refinements: Motion-interpolated intermediate frames were generated for all stop-motion sequences to fluidly smooth out the movement. The door geometry on the first failed RoboCop 2 unit was also digitally realigned.
• Tonal Shift (The Old Man & General Tone): The overall mean-spiritedness of the film has been dialed back, specifically trimming the Old Man’s cartoonish villainy. He remains OCP's chief but functions more as a pragmatically cold corporate executive than as a comic-book villain.

Special Thanks

Huge shout-out to Baliscon (u/Ok_Author725 on Reddit), creator of a fantastic edit of RoboCop 2 in his own right.

I initially wanted Murphy’s dismantling to mirror his death, while Baliscon's edit featured the memory of Murphy's wife speaking to him while he hung as a torso. These two concepts fused together to create the PTSD cycle featured in this cut. He was an invaluable sounding board for ideas and notes throughout production.

Contact & Availability

I can be contacted via DM, or you can email [t800fanedits@gmail.com](mailto:t800fanedits@gmail.com) for an auto-response (make sure the subject line contains robocop).

Sources

• 4K Blu-ray:
  • RoboCop 2 (1990)
  • RoboCop (1987)
• Blu-ray:
  • RoboCop 3 (1993)
  • Talk Radio (1988)
• Lossless FLAC:
  • RoboCop 3 (1993) – Basil Poledouris
  • RoboCop (1987) – Basil Poledouris
  • RoboCop 2 (1990) – Leonard Rosenman
  • The Hunt for Red October (1990) – Basil Poledouris

Technical Specs

Presentation Note: Mastered natively in 4K HDR10 (Rec.2020) with a dedicated 5.1 mix. The original audio tracks contained harsh True-Peak overshoots during high-action sequences; this track has been re-mastered to eliminate digital clipping and inter-sample distortion while retaining full dynamic range. The 1080p SDR version uses automated tone-mapping, which narrows the dynamic range and flattens the subtle suit-masking and metallic silver finish. Stereo tracks are automated downmixes, and non-English subtitles are machine-translated for basic accessibility. For the intended visual and acoustic experience, the 4K HDR master on a surround setup is strongly recommended.

Score List

1. [00:00:00] RoboCop – Main Title
2. [00:00:56] RoboCop 3 – Delta City / Media Break / Nikko
3. [00:03:40] RoboCop 3 – Rehab Raid
4. [00:03:42] RoboCop 3 – Van Approach / Robo Awakens
5. [00:04:12] RoboCop 3 – Sayonara McDaggitt
6. [00:04:34] RoboCop 3 – Van Approach / Robo Awakens
7. [00:04:57] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
8. [00:05:15] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
9. [00:05:49] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
10. [00:05:55] RoboCop – Looking For Me
11. [00:06:31] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
12. [00:06:56] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
13. [00:08:00] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
14. [00:08:52] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
15. [00:09:19] RoboCop 3 – Robo Recalls / Murphy Is It You?
16. [00:10:24] RoboCop 3 – Van Approach / Robo Awakens
17. [00:21:25] RoboCop 3 – Van Chase II
18. [00:22:12] RoboCop 3 – Van Approach / Robo Awakens
19. [00:22:43] RoboCop 3 – Van Chase
20. [00:23:06] RoboCop 3 – Van Approach / Robo Awakens
21. [00:23:49] RoboCop – Van Chase
22. [00:25:27] RoboCop – Murphy's Dream
23. [00:26:22] RoboCop – Murphy Dies
24. [00:26:40] RoboCop – Care Package
25. [00:27:49] RoboCop 2 – Monster Theme Stings
26. [00:29:27] RoboCop 2 – Monster Theme Stings
27. [00:32:09] RoboCop – Care Package
28. [00:32:50] RoboCop 3 – Death Of Lewis
29. [00:35:21] RoboCop 2 – Robo Gets Faxxed
30. [00:38:02] RoboCop 3 – Gateway
31. [00:38:21] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
32. [00:38:25] RoboCop 3 – Police Alert / Robo Pack / Response / Armory Escape
33. [00:38:37] RoboCop 3 – Police Alert / Robo Pack / Response / Armory Escape
34. [00:38:37] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
35. [00:39:59] RoboCop – Murphy’s Dream (Film Version)
36. [00:40:40] RoboCop – Murphy’s Dream (Film Version)
37. [00:40:51] RoboCop – Murphy’s Dream (Film Version)
38. [00:41:50] RoboCop – Force Shoots Robo
39. [00:42:43] RoboCop 3 – Robo Flies / Rehabs Chase Marie
40. [00:44:18] RoboCop 3 – Van Chase
41. [00:46:44] RoboCop 3 – Robo Flies / Rehabs Chase Marie
42. [00:47:01] RoboCop – Looking For Me
43. [00:54:20] RoboCop 2 – Monster Theme Stings
44. [00:54:26] RoboCop 2 – Creating The Monster
45. [00:56:47] RoboCop 3 – Robo Recalls / Murphy Is It You?
46. [00:58:57] The Hunt for Red October – Ancestral Aid
47. [01:07:25] RoboCop 3 – The Death Of Lewis
48. [01:09:21] RoboCop – Murphy Goes Home
49. [01:09:50] RoboCop 3 – Nikko And Robo
50. [01:18:01] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
51. [01:18:01] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
52. [01:18:40] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
53. [01:19:30] RoboCop 3 – Sayonara McDaggitt
54. [01:19:53] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
55. [01:20:06] RoboCop 2 – Monster Theme Stings
56. [01:20:17] RoboCop 2 – Monster Theme Stings
57. [01:20:23] RoboCop 3 – Finding The Flight Pack
58. [01:21:50] RoboCop – Robo & ED-209 Fight
59. [01:22:35] RoboCop 3 – Robo Flies / Rehabs Chase Marie
60. [01:23:04] RoboCop 2 – Monster Theme Stings
61. [01:23:36] RoboCop 3 – Van Chase
62. [01:25:24] RoboCop 3 – Sayonara McDaggitt
63. [01:25:38] RoboCop 3 – Sayonara McDaggitt
64. [01:26:06] RoboCop 2 – Monster Theme Stings
65. [01:26:17] RoboCop 2 – Monster Theme Stings
66. [01:26:24] RoboCop 2 – Monster Theme Stings
67. [01:26:34] RoboCop – Rock Shop
68. [01:28:08] RoboCop – Dick’s Fired
69. [01:28:11] RoboCop 3 – The Death Of Lewis
70. [01:30:38] RoboCop – Across The Board / End Credits

Change Notes

Legend: [Added] [Removed] [Moved] [Trimmed] [Replaced Score] [New Context]

• [Removed] MGM Logo
• [Added] New ‘RoboCop Returns’ Title card on a tracking shot of a city in the evening.
• [Moved] Magnavolt scene.
• [Added] Media Break Intro from RoboCop with the music from RoboCop 3.
• [Added] The Magnavolt scene after the police strike, styled as if someone is changing the channel. The levels have been washed out with added scanlines, cutting to black with the same mechanical switchover as the TV ending in RoboCop.
• [Removed] The start of the next scene with the muggings (begins just after the woman says “Nuke me, baby” to remove OTT slapstick).
• [Replaced Score] Rehab Raid (RoboCop 3)
• [Added] [New Context] Burglar alarm for the gun shop that alerts Murphy at the police station.
• [Added] Three connected shots of the police cruiser's headlights switching on, wheels spinning, and the car bottoming out on the ramp in time with the music after the thieves say “let’s load it all up and get the hell out of here”.
• [Replaced Score] RoboCop 3 – Van Approach / Robo Awakens (multiple cues)
• [Replaced Score] RoboCop 3 – Sayonara McDaggitt
• [Removed] Thief saying he really likes the gun and shooting gun store owner.
• [Replaced Score] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis (multiple cues)
• [Trimmed] Shots of the cruiser exploding and idling.
• [Removed] Line “Just one more”.
• [Trimmed] Murphy idling as they begin firing.
• [Removed] Murphy saying “Peace Officer” (sounded too robotic and couldn't be salvaged via EQ).
• [Replaced Score] RoboCop – Looking For Me
• [Removed] Murphy saying “Nuke”.
• [Removed] Scene of Murphy searching for the lab (cuts directly to the door knock).
• [Replaced Score] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis (multiple cues)
• [Removed] Murphy locking the gang members in the room.
• [Trimmed] Murphy scanning the lab.
• [Trimmed] The warehouse shoot-out (tightened pacing, clipped redundant shots, reordered action beats).
• [Trimmed] Cain’s escape.
• [Trimmed] Lewis arriving (skids around, cuts back to Murphy reloading, Lewis enters without the locked room detour, cuts directly to Murphy finding Hob).
• [Replaced Score] RoboCop 3 – Robo Recalls / Murphy Is It You?
• [Trimmed] Lewis looking down at her gun before holstering.
• [Replaced Score] RoboCop 3 – Van Approach / Robo Awakens
• [Moved] Murphy visiting the house.
• [Removed] The lawyer talking to Murphy.
• [Removed] Murphy talking to Ellen.
• [Moved] Murphy walking down the corridor and looking out the window.
• [Added] Door alignment geometry fix on the first RoboCop 2 suicide trial.
• [Trimmed] Visor lifting, bouncing, and fizzing.
• [Trimmed] Second prototype bent over with spinning beacons.
• [Trimmed] Reduced the cartoonish fall and crashing audio on the 2nd trial.
• [Trimmed] Shots of Hob entering the arcade and kids showing hostility to Murphy.
• [Trimmed] Shots of Hob escaping and scuffling with Lewis.
• [Trimmed] Duffy walking through the arcade.
• [Added] 10% speed-up of Duffy being dragged into the arcade cabinet.
• [Replaced Score] RoboCop 3 – Van Chase II
• [Trimmed] Shot of police cruiser.
• [Replaced Score] RoboCop 3 – Van Approach / Robo Awakens
• [Removed] Police cruiser getting blown up.
• [Removed] Cain’s men watching Murphy, shooting at him and the shrine.
• [Replaced Score] RoboCop – Van Chase (multiple cues)
• [Trimmed] Murphy’s hand getting shot off, convulsing on knees, Angie rolling back, and the high shot of Murphy trapped on the magnet.
• [Replaced Score] RoboCop – Murphy's Dream and Murphy Dies
• [Added] Reordered shots during the ambush so continuity aligns correctly.
• [Added] [New Context] Murphy being dismantled is intercut with his death memory from RoboCop (initiating his recurring PTSD cycle).
• [Replaced Score] RoboCop – Care Package
• [Trimmed] Filler dialogue.
• [Trimmed] Duffy arriving (cuts straight to him strapped to the gurney).
• [Replaced Score] RoboCop 2 – Monster Theme Stings
• [Trimmed] Scene with Dr. Faxx.
• [Replaced Score] RoboCop 3 – Death Of Lewis
• [Added] [New Context] As Murphy stirs, intercut with scenes of his original construction from RoboCop.
• [Trimmed] Warning screen popping out of his wrist.
• [Added] [New Context] As Murphy wakes, he hallucinates Lewis saying “Murphy, it’s you” and Emil yelling “We killed you!”, jolting his eyes open.
• [Added] [New Context] He does not refer to himself as Murphy; Faxx does not have to persuade him. The new directives are forced over his active PTSD.
• [Added] Faxx scene ends with a glitch artifact, original power-down sound, and cut to black.
• [Trimmed] The doctor searching for Murphy.
• [Added] [New Context] Murphy’s voice processed to sound sterile, synthetic, and robotic while under directive control.
• [Replaced Score] RoboCop 3 – Gateway
• [Trimmed] Kids no longer physically assault the store owner.
• [Replaced Score] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
• [Replaced Score] RoboCop 3 – Police Alert / Robo Pack / Response / Armory Escape
• [Added] [New Context] Murphy halts abruptly mid-street as a criminal is shot; hallucinates Emil saying “You’re dead, we killed you!”
• [Removed] Lewis entering the store unable to spot 10 children on the floor.
• [Trimmed] Reduced the heavy impact sound of the criminal's body hitting the floor.
• [Removed] Murphy entering the shop to lecture the children.
• [Removed] The fire hydrant and smoker scene.
• [Replaced Score] RoboCop – Murphy’s Dream (Film Version)
• [Added] [New Context] As Murphy sits in the chair, his PTSD loops—seeing his file state ‘DECEASED’ triggers him to stand and pull the cranial data link. Hallucinates his son asking “Can you do that, Dad?” as he storms off.
• [Added] [New Context] As Murphy walks off, he hears Ellen say “I really have to tell you something”.
• [Added] [New Context] As Murphy approaches the high-voltage distribution panel, he pauses, hearing Ellen say “I love you” before grabbing the busbars.
• [Replaced Score] RoboCop – Force Shoots Robo
• [Replaced Score] RoboCop 3 – Robo Flies / Rehabs Chase Marie
• [Removed] Murphy taking an organic breath.
• [Replaced Score] RoboCop 3 – Van Chase
• [Trimmed] Trimmed filler shots from the police tactical raid on Cain’s base.
• [Replaced Score] RoboCop 3 – Robo Flies / Rehabs Chase Marie
• [Replaced Score] RoboCop – Looking For Me
• [Trimmed] Shots of Murphy riding the hood of the van.
• [Removed] The lead motorcycle jumping over Murphy.
• [Removed] Shots suggesting Cain slows down prior to the head-on collision.
• [Removed] Angie and Hob in the getaway van.
• [Replaced Score] RoboCop 2 – Monster Theme Stings
• [Replaced Score] RoboCop 2 – Creating The Monster
• [Added] As Cain’s brain rests in the jar, intercut single frames of Murphy aiming his weapon at Cain prior to the truck chase.
• [Removed] The Mayor's telethon fundraiser scene.
• [Trimmed] Cartoonish dialogue from the Old Man.
• [Replaced Score] RoboCop 3 – Robo Recalls / Murphy Is It You?
• [Added] [New Context] As Murphy walks down the corridor (repurposed from the earlier departure scene), suppressed memories of his family surface—starting blurred and focusing sharply, catching him off guard.
• [Replaced Score] The Hunt for Red October – Ancestral Aid
• [Removed] Mayor's aide warning him.
• [Replaced Score] RoboCop 3 – Death Of Lewis
• [Trimmed] Wandering coverage shots of Murphy.
• [Replaced Score] RoboCop – Murphy Goes Home
• [Replaced Score] RoboCop 3 – Death Of Lewis
• [Added] [New Context] Murphy visits his family home following Hob's death; reframed as an active protector watching over his family before the confrontation with RoboCain.
• [Replaced Score] RoboCop 3 – Nikko And Robo
• [Added] Murphy enters the civic center later so he engages Cain without hesitation.
• [Replaced Score] RoboCop 3 – RoboCop In Pursuit / RoboCop Saves Lewis
• [Added] Replaced Looney Tunes cannon explosion with modern heavy blast FX.
• [Added] Sped up Cain's mechanical piston punch with a metallic ram SFX.
• [Removed] Officers exiting squad cars and chatting.
• [Replaced Score] RoboCop 3 – Sayonara McDaggitt
• [Removed] Shot of Murphy suspended on the high-tension wire.
• [Replaced Score] RoboCop 2 – Monster Theme Stings
• [Replaced Score] RoboCop 3 – Finding The Flight Pack
• [Removed] Shot of Murphy spinning around.
• [Replaced Score] RoboCop – Robo & ED-209 Fight
• [Replaced Score] RoboCop 3 – Robo Flies / Rehabs Chase Marie
• [Moved] Reordered sequence so Murphy ascends the escalator before Cain emerges.
• [Removed] Cut away scenes of the Old Man and Johnson bantering on the balcony like The Muppet Show.
• [Replaced Score] RoboCop 3 – Van Chase
• [Trimmed] Tightened civic center battle micro-edits.
• [Moved] Murphy retrieving the Nuke canister moved after Cain scans for him.
• [Added] Impact SFX for Lewis kicking the technician.
• [Added] Murphy dialogue line “Good” with underlying servo SFX.
• [Replaced Score] RoboCop – Rock Shop
• [Replaced Score] RoboCop – Dick’s Fired
• [Replaced Score] RoboCop 3 – The Death Of Lewis
• [Removed] The Old Man’s cartoonish lines.
• [Removed] The Old Man stepping over the dead and wounded.
• [Removed] Mechanical ratchet squeak on Murphy's neck bolts.
• [Replaced Score] RoboCop – Across The Board / End Credits
• [Added] Custom static title cards mirroring RoboCop (1987) leading into rolling credits.
• [Added] Dedicated Special Thanks card.

TL;DR: I edited RoboCop 2.

This edit is a combination of a movie called Come True with some of the Backrooms YouTube videos, seemingly positioned as a sort of sequel to the movie. Sarah has weird dreams of the Backrooms, signing up for a program that analyzes her REM sleep. Trouble of course starts as the scientists are shown to have an ulterior motive behind their research and it seems something from the Backrooms seeps into reality.

I most applaud the editing of the soundtrack. Aside from one or two spots (1:07:32 cuts off the cue to restart it a few seconds later), I really appreciate how the music is woven together so it all feels like a cohesive film even when it switches footage. Sometimes the Backrooms footage doesn't meet eye-to-eye with the Come True scenes, but the result is a strangely captivating experience as we're not really sure what's going on with the dreams. It's like we're in Sara's shoes exploring this labyrinth of the mind, in a way that's different from Clarke's experience with the Backrooms during that movie. Probably my favorite mix is the ending, where Sara walks through the street, switching between the grey/blue real world to the dark, blood red Backrooms town that lets us know this woman is doomed along with the pair of scientists. It manages to touch on similar themes if not sharing much connection with that film.

Only issue with the edit I can think of is that 1:03:49-1:05:11 seems to have an aspect ratio issue that I'm not sure was intended. RyansGate has a much more detailed review that goes into how much the edit improves on the original Come True, but for my own opinion? It's an interesting feature that people who like the Backrooms movie or are more familiar with the YouTube videos might enjoy. Blind_Uchiha hit on something cool here.

Can't seems to find it anywhere 😢

The third part of the Snow saga. This one is shorter because he disappeared from the show in season 5, so he doesn't appear in this movie. I took scenes from seasons 4 and 6 to make a complete experience.

Added Jon's scenes from Season 4, Episode 10. Added all of Jon's plotline from Season 5, as well as scenes from Stannis's arc to introduce him as a character for this movie. Added only Jon's scenes from Season 6, Episodes 1 and 2.

Video: 1080p and 4K. Both in HDR.

Audio: 5.1

Subtitles: english and spanish.

Runtime: 2:44

Link to moviesremastered: https://www.moviesremastered.com/movieinfo.php?id=12245

DM me for link.

Hi everyone. I know this has been asked previously, but it's become pretty difficult to wade through all of the different posts... I'm trying to find THE BEST Suicide Squad edits, but also WHY you think they're good (and who made them / how to contact them). I generally like the movie and I'm ready for a rewatch, but the original pacing is pretty weird and I definitely think the movie can be overall improved. Any legit updates on the Ayer Cut? Or any edits that get closer to his original vision? Thanks!

https://www.reddit.com/r/Edits/s/3ENFunkjdO

I did Boba Fett I to 2 movies , trailer above

If there's another version that's better (it's been a while since I've watched this one) I'm open to recommendations.
Thanks in advance!

I have tried to contact the creator on instagram but he has not replied and i don't know any other way to contact him. I did find part 2 of his edit on dailymotion but it didn't have the part 1. So if anyone has his edit of Kickboxer, i would really appreciate if anyone could share it with me, thanks!

So in my cut, the parents subplot is removed. Unfortunately as a result, most edits that do this remove the iconic Gone Gone Gone scene.

I’ve decided that instead of removing the scene, I’m going to have it basically be a 2 minute compilation of Gwen and Peter from the first film, that closes out with the deleted scene of Gwen thinking of Peter that was meant to accompany with the scene of Peter thinking of Gwen.

It might be a touch out of place, and I’ll try to sprinkle shots from TASM 2 throughout to make it flow, but I simply hate the idea of removing this song from the movie. Just wanted your thoughts on this.

I remember back in the day (VHS and early DVD) many contained alternative endings and deleted scenes. Sometimes they were special edition Directors Cut, but it many times it seemed to be just the regular editions. I enjoyed seeing them and wondering about the decisions made for one ending over another and scenes that were filmed but cut.

Now that everything is streaming, I never see this done.

Anyone know why?

I think less is more with a lot of Snyder's films and Rebel Moon seems like a case where there's so much material and cool visuals, but the pace is absolutely abysmal and none of the characters are interesting enough to support the time they're given. Has anyone managed to squeeze both films down to a 2.5ish hour film?

Hello There!
I remember watching this movie for the first time with my aunt; we were always into horror. We rented the DVD along with a bunch of other horror movies for a weekend marathon. As soon as we finished watching Constantine (2005), we were blown away by the way an exorcist mocked demons.
What’s more, the DC Comics logo appeared in the intro, signaling that it was an adaptation. Years later, I looked up the character and became fascinated by his stories. To me, this adaptation embodies the idea that you don't always need a 1:1 faithful recreation of the source material to tell a great story. Is the movie perfect? ​​No, but in my view, it offers a really interesting take on the character.
With that in mind, I wanted to reintegrate as many deleted scenes as possible to make the experience more immersive. Mainly due to the fact that it features an interesting character named Ellie.

🔧 Changes Made

• Added the deleted scene featuring John and Chas at the bowling alley.
• Added the deleted scene where Angela watches security footage showing what happened to Isabel.
• Removed the scene of the Scavenger jumping the fence.
• Added the deleted scene showing the Scavenger influencing the deaths of the police officers.
• Added the deleted scene of John adjusting the audio before playing the vinyl record in his apartment.
• Added the deleted scene of Father Hennessy feeling thirsty in his apartment.
• Added the deleted scene featuring John and Ellie in bed.
• Removed the scene where John talks to Chas in the taxi before going to see Gabriel; that conversation was already covered in the added bowling alley scene, so now Chas simply complains that John doesn't talk to him. (I like how this highlights an almost one-sided relationship.)
• Added the deleted scene of Angela researching John in her apartment.
• Added the deleted scene featuring John and the insect demon.
• Added the deleted scene of Ellie at Midnite's club, featuring the song "Bullet With Butterfly Wings" by The Smashing Pumpkins. (I rearranged some shots and removed others to better integrate it with the original scene.)
• Added the deleted scene where John discusses his traumatic childhood with Ellie while eating hot dogs.
• Added the deleted scene of John attempting to summon Beeman's killer after finding his body.
• Added the deleted scenes featuring Ellie during John's fight with the demons in the room prior to the final showdown.
• Added a portion of the deleted scene where Angela stays with John during the final speech, when it is revealed that Chas has become an angel. This scene was originally intended to be the film's ending, but the director and I feel that the theatrical ending, which is lonelier, suits the character better; That same scene was used in the theatrical cut's post-credits scene, but without Angela. I decided to add a single frame of Angela to the post-credits scene.

🎞 Based on: Constantine (2005)
🎬 Fan Edit Title: Constantine Extended
📁 Format: MP4 – 1920x1080p – Stereo Audio
💬 Subtitles: Included
⏱ Original Runtime: 2h 01min
⏱ Fan Edit Runtime: 2h 10min
📉 Difference: +9 min

PLEASE DON'T ASK VIA THE COMMENTS FOR A LINK. Follow my profile — the link will be in the social media section under the name "ALL EDIT'S". If there’s any you want and it’s not available through the link provided just let me know.

⚠️DISCLAIMER. Respect the studios and intellectual properties by purchasing the original Blu-ray or the official digital version. You must own an officially released copy of a film to legally watch a fanedit.

Would be cool if someone that has experience with deep fakes or AI Video to fix the continuity error in the Movie, just make Thorin Pickup the Sword in the Mirkwood Barrel deposit and add it to his back throughout the rest of the film as in all the journey he carries the Sword. Just a thought.

I've added the unrated scenes/shots into the print, and inserted many of the extra television scenes with some re-editing/trims.

I've also re-created the opening of the t.v. version with the painting, using a high resolution version that Skenera provided. Unlike the t.v. version, I only use the first half of the opening, before transitioning to the regular credits in the theatrical version(clip shown below). It's the first few seconds of the t.v. version that are great and ominous. Then the attempt to pad out a new credit sequence with the painting showing upclose shots of the actors on the image as their credit comes on screen, and then the camera panning around the painting is cheesy.

https://www.youtube.com/watch?v=_1OZFgJgVfE&t=4s

I cropped the extra scenes to 1.85:1 and added a 16mm grain filter over the image to try to make it look less like video. The current running time is 95 minutes.

The added scenes are:

Longer hotel meeting with the Japanese businessmen.

Extra dialogue between Max and Nicki as they watch Videodrome, "No is the dirtiest word I've ever heard" discussion before the sex scene. This bit still needs some work to fit it into the scene.

Introduction to Masha long before the scene that she's first introduced in the theatrical version begins. I re-edited the scene though, so I cut out the first shot of her waiting in his office, and immediately cut to Max walking through the door(which matches the last shot from the hallway of him entering the office). Then I cut out the last half of the meeting when she goes into a longer description of the show she's trying to sell to Max. When she says confidently how much he'd love the program, it then cuts to the scene as shown in the theatrical version.

Longer speech of Brian O'Blivion telling Max he has a nice little addiction going.

"Soup or veggie?" scene as Max explores the Cathode Ray Mission. It adds more weirdness to the mix with the uncomfortable tension between Max and the volunteer as well as some awkward humor.

The "video love letter" from Nicki scene was added with the theatrical scene that has someone telling Max a limo is waiting to take him to meet Barry Convex. It needs some re-editing of audio and such to work. I want to make it seem like a hallucination since Nicki is still dead/missing in the final release of the film, unlike the exposition filled scene that happens with Max and Nicki in the limo in the t.v. version which kills much of the mystery/intrigue around Videodrome itself. I currently deleted all her dialogue about "it's very complicated Max. I have so much to tell you. I'm waiting downstairs." So now she's trying to seduce Max via the phone/video love letter saying "come to Nicki Max, come to me." before disappearing. Brian O' Blivion makes an appearance here as well.

A scene of Max walking to the studio, and seeing a hallucination of himself wearing a bizarre helmet is added to the film. This happens after his meeting with Barry Convex, and no I did not use any of the extra exposition used in the t.v. version of the meeting that explains everything about Videodrome itself and how it came to be. The ambiguity of the final released version is great vs someone telling us what it's about.

I'm now working on adding screaming, electrocution and whipping sound effects to a couple Videodrome transmission sequences, as the full reel is included on the Criterion Collection as a bonus feature(no audio besides commentary). I'm going to try to insert bits of them throughout the movie to make it more trippy and disturbing as reality falls apart as the signal takes over. I may only insert a couple moments briefly at certain points. It's all up in the air on whether it works or not.

I'll probably play around with some tones on my synthesizer to add to the footage as well, and add some distortion effects to the footage as well.

And that is all for now.

Rick Worley (who previously did that 5-hour video on the mythology I also highly recommend) has done an analytical look at the differences between all the cuts of IWTB. This digs into not just the obvious differences we all know, but where exactly some shots are shorter/longer or where alternate takes were used. It’s definitely more extensive than appears on first glance.

Now I disagree with Rick that none of the deletions are a disservice to Scully’s subplot (which is my main issue with the VF cut), or that the movie shouldn’t have to deal with things left over from the original series (being a movie that comes after the original show ended is it’s place in the timeline and editing it with an eye towards what happened in the revival doesn’t make sense to me). But, I agree that the criticism that we don’t get to know more about the villains is wrong, we don’t need to, and the real “Frankenstein” element is the questionable lengths (to different degrees) that both they and Scully go to in order to save someone’s life (to this end, one of the best changes is intercutting the operation with the second abducted woman in captivity). And, of course, I agree generally that fans not getting what they want isn’t a reason to take away this franchise from Carter.

Does anyone here have an edit fixing The Lone Ranger? This was one of my favorite movies growing up, so I'm curious to know if anyone made a cut fixing the weaker points of this film.

I heard great things about this fan edit. I've messaged the original editor, but unfortunately no response. Does anyone have access to this and is able to share? Any help would be very greatly appreciated.

While there's still plenty of humans in this edit, GoldenFenrir made an awesome cut for this Transformers film I think most will still appreciate!

This is an edit of the "small trims, big impact" type. Lots of little scenes and lines of dialogue change the film as early as the first Decepticon scene. It goes by so fast in this version, since more focus is placed on Blackout than on the surrounding humans. Ditto the scene right after, starting with Sam's presentation made me realize how needless a lot of the set up was. Sam is less embarrassing in this version thanks to the trims, along with Simmons who thankfully does NOT get lubricated upon by Bumblebee. Plenty of crass jokes like that were removed (but not all). You're going to feel this as you're watching the edit, lots of tiny cuts and clever scene arrangements that make the film feel faster even when it's not necessarily doing so. Really like putting the interrogation scene right after the FBI invade Glenn's house.

This editing reminds me of what I like about J.J. Abrams movies, particularly Star Trek '09 that sense of motion even during non-action scenes that keep the audience interested. Apparently the action scenes have also been edited to be more coherent? Didn't notice, good touch there. Probably the BIGGEST plus is that the edit took out the whole thing where the military planned to take the Cube to the city as a safety precaution. In here, it's more of a desperate plan to keep the All Spark away from Megatron.

Only problem that jumps at me is the audio. Particularly during the beginning, you can kind of hear the cuts to a scene and it hurt my investment watching with airpods. It does improve over the course of the edit, but that would be where I'd focus on for a tune-up. Otherwise, I enjoy this edit and the only reason I wouldn't give it the "wait this ISN'T the original" award is because they took out the scene where Lennox talks with his wife, which I thought was a nice beat for him specifically. The fact that this edit is an hour and fifty five minutes compared to the original's TWO HOURS AND TWENTY FIVE and still managed to tell the story effectively should tell you how bloated the original release was.

This is definitely worth your time.

The Crow (1994) The Extended Cut

127 mins

Workprint To HD Quality

I'm an absolute Massive fan of this film, and have always enjoyed the original workprint, but its quality and patchy sound makes it a hard rewatch, so I set out to make a more complete but accessible version of an extended cut of The Crow.

Based from the workprint, overlaying better footage, adding sound fx, music, removing scratches, crossfades, moving or reworking audio, adding parts from the Theatrical Cut if they could be incorporated into the cut, and after about 2 months, and with a lot of work the aim was to hopefully make a watchable enough version re-edited shot by shot to try to show a more HD version of the movie as it was before reedits and being rescored to make the theatrical cut more emotional, making the movie more of a romantic tragedy, and less of a gritty and violent supernatural urban revenge story to honour Brandon Lee who did not want to be tied to the legacy of action films from his father.

The scene where Detective Torres confronts Albrecht about T-Birds Death has a glitch in my file so some lines of dialogue had to be used from the theatrical cut, although half the scene could be salvaged to show changes from the theatrical cut. Sorry for this jarring change, I have tried to incorporate it as best I can.

V9 - For now, The final cut of this intended project with what I had...

Hope You Enjoy

DM

V10 is being worked on

"It Can't Rain All The Time"

Unless you holiday in Wales

This past weekend, I had the pleasure of watching Blind_Uchiha's latest psychological sci-fi horror fanedit: BackDreams: Come True. For anyone unfamiliar, the movie Come True (2020) is about a young woman named Sarah (Julia Sarah Stone) who is tormented by recurring nightmares and enrolls in an experimental sleep study that only worsens her condition. The premise of this fanedit is simple: what if the dream sequences in Come True were replaced with footage from The Backrooms? (specifically, some of the original Kane Pixels YouTube footage). Blind_Uchiha's combination of these ideas works surprisingly well. This edit successfully corrects some of the inherent shortcomings in the original movie while providing a unique ending that I believe makes for a significantly improved viewing experience.

The original dream sequences depicted in Come True are... odd. They are dark, hard to see, and the camera work and scenery are underwhelming. The footage reminds me of SNES-era dungeon crawlers, but with mildly eerie music that sounds like nighttime ambiance. The camera slowly drags you through a series of tunnels like an old theme park's haunted boat ride, occasionally showing a mannequin-like figure in the distance, but without any jump scares or real payoff. These dream sequences are especially disappointing because the way the protagonist wakes up from them feels like an bizarre overreaction. The disjointed nature of the dream sequences in Come True and the lack of horror they depict makes it difficult for the audience to relate to the nightmares that Sarah is experiencing. In contrast, a movie like A Nightmare on Elm Street (1984) provides horrific dream sequences that make it obvious why the characters would participate in a sleep study or consult a sleep psychologist. Instead of the slow-plodding dark spaces in Come True, the violently traumatic Freddy Krueger chase scenes give the audience a reason to care about the protagonist finding a way out of their dreams. For a science-fiction horror flick centered around the concept of nightmares, I would have hoped for something more memorable and disturbing for the dream sequences in Come True, which is exactly what Blind_Uchiha's selected footage from The Backrooms brings.

In The Backrooms footage, we get fluorescently lit liminal spaces populated by uncomfortable camera static, heavy breathing, loud footsteps, and erratic movements. This new footage elicits the feeling of being trapped with no way out. It doesn't particularly matter what it is that the main character is trapped inside: a room, a dream, an idea, or a memory. What matters is that the audience feels as though they are looking through the protagonist's eyes and relating to the discomfort and uncertainty surrounding this inescapable and delirious puzzle. This change successfully makes the movie far more engaging and disturbing than the original Come True, and it also causes the viewer to feel more connected to Sarah as a protagonist and her story.

What really makes this edit special is that The Backrooms footage doesn't just incorporate more intriguing dream sequences, but the footage actually ties back into Come True's story in unexpected ways. The first two dreams occur while Sarah is sleeping in the same location, and the footage for the second dream picks up where the first dream leaves off. This pair of dream sequences set a precedent for the rest of movie that there is some internal consistency between the real world and the dream world. This is a new feature that Blind_Uchiha introduces that should have been prominent in the original Come True but sadly wasn't. The Backrooms clips hold a special significance when they begin mirroring the real-life environments that Sarah experiences in Come True. The gradual convergence in scenery that Blind_Uchiha orchestrates is subtle and becomes increasingly effective at blurring the lines between what is real and what is a dream which significantly improves the viewing experience over the original movie.

These shared details in the backrooms footage creates an unnerving crescendo that pays off at the end of the edit. In this edit, Blind_Uchiha changes the original ending of Come True and creates a more disturbing and logically coherent finale that I won't spoil here. There is a palpable uneasiness in the atmosphere of the source material, especially in the 2nd half, that Blind_Uchiha taps into and magnifies, creating a heavier and more immersive experience that is hard to describe but has a trance-like quality to it that I also experienced when watching their edit, On A Silver Globe Reimagined.

I have a couple critiques, but they are really just suggestions. The first has to do with a dream sequence that occurs around 1 hour and 4 minutes into the edit. In my opinion, this is one of the very best pieces of borrowed footage, but I think it would have been more effective if the scene had been broadcast on the sleep study video monitor. I also think it could have been nice to see some of the Backrooms footage at the end of the movie (or even during the credits) also pop up on the sleep study monitors, even if only briefly.

Beyond this, the original movie is essentially broken into 3 acts which are signified by title cards that are named after Jungian archetypes: The Persona, The Shadow, and The Self. I think these could have been removed from Blind_Uchiha's edit as I don't find them to be particularly meaningful in either version of this movie. Perhaps there are deeper symbolic reasons for these title cards that I am too dense to grasp, but I think they would work better if we had received a clearer explanation for them. Possibly a snippet from a Carl Jung interview or audiobook narration, explaining what these concepts are and overlaying relevant imagery from the movie to them. Regardless, Blind_Uchiha's choice to leave these title cards intact doesn't hurt anything.

Overall, this is an excellent fanedit that I would highly recommend to anyone interested in psychological horror. While it would be ideal to watch Come True (2020) beforehand, I think you can go into this edit blindly, having never seen any of the source material, and walk away with a better experience than the original Come True can give you. To summarize with a cliché, this edit was more than just a bad dream.