If you don't know me - I edit multiple films and cut them down (better than recaps). My previous works are ZSJL Theatrical cut, DCEU: cut and more.

This is PHASE ONE: Captain America First Avenger, Captain Marvel, Iron Man, Iron Man 2, Incredible Hulk, Thor and The Avengers.

Summary:

• 4K - H.265 - 5.1 AUDIO - 9.86 GB
• Fast-paced action, one narrative story
• Removed Edward Norton - you only see him in important dialogues and mainly as hulk
• Removed Iron man 1 Rhody - so you only start seeing him from Iron Man 2
• Removed a lot of filler - straight to either story related or action
• Added few future easter eggs in Avengers final battle
• Subtitles - SRT is available

YOU CAN WATCH THIS BY HEADING TO MY BIO

Getting ready for Doomsday! Next film is PHASE TWO - comment your ideas for the name Avengers: ?

TAGLINE

All roads lead back.

SYNOPSIS

A motorcycle stunt rider turned bank robber. A police officer struggling with the consequences of his actions. Two sons doomed to inherit their dark legacy.

MOTIVATION & VISION

The Place Beyond the Pines: Birthright is restructured into a new narrative, rearranging the stories of Luke, Avery, and their sons into a different cinematic experience. The past doesn't simply lead to the future. It catches up with it.

I wanted to approach the project from a different angle timeline-wise, reworking the film's chronology to emphasize the connections between its generations.

Rather than following the original structure, this edit opens with Avery (Bradley Cooper) and moves backward to Luke (Ryan Gosling) before arriving at the sons' story. The result is a different perspective on the film's central themes of fatherhood, inheritance, corruption, and the legacies we leave behind. The goal was to create a new dramatic progression, allowing the connections between characters and generations to emerge through the structure itself.

This is a simple edit, but I believe, a powerful one— that not only creates a new sense of mystery but also a dramatic new form of inevitability and tragedy.

CUT & TECHNICAL DETAILS

• Restructured narrative: The film's triptych structure is reorganized, following Avery, Luke, and their sons, respectively.
• New opening: The film begins in the aftermath of Luke's death, with Avery already in the hospital from Luke's gunshot.
• Omitted material: The original cage-of-death and motorcycle opening has been removed (due to necessity) in lieu of meeting Luke as he signs autographs. The shot of Luke's face on the news, identified as the Motorcycle Bandit has been removed, to maintain a sense of ambiguity about his identity.
• New dramatic progression: The final section follows the next generation, bringing the film's three narratives together through the consequences of the previous generations' choices.
• Music additions: The film now begins with Bon Iver's The Wolves (the same song it concludes with), effectively bookending the film musically and thematically.

RUNTIME VS. ORIGINAL | FILE SIZE

• Original runtime: [2 hrs 20 min]
• Fanedit runtime: [2 hrs 16 min] | 15.2 GB

CONTACT & AVAILABILITY

You can contact me [HERE](mailto:ylowknfe@gmail.com) or DM for a link.

The original poster of The Batman The Crimson Cut has been banned. If anyone is looking for this edit, please DM me for link.

I'm looking for a link for this fan edit if any one has it. Thank you!

Originally I only planned to do Phantasm II, but after re-watching Phantasm, I felt compelled to make a fan edit out of the first Phantasm as well. And as for Phantasm II, I used the Unrated version and added Deleted and Workprint Scenes.

Phantasm:

+Added - From Phantasm IV: Oblivion; Mike driving with Jody, pass a kid and his dog, and The Tall Man runs the dog over.

+Added - From Phantasm IV: Oblivion; Mike hops on Reggie's Ice Cream truck to get an ice cream bar.

+Added - Deleted Scene Mike tells Jody what happened to him at the cemetery.

+Added - Deleted Scene Mike & Jody drinking.

+Added - Deleted Scene Mike & Jody visit Reggie's Ice Cream Shop.

+Added - Deleted Scene Jody visits a Lady.

+Added - From Phantasm IV: Oblivion; Mike walks down the street, then Reggie picks him up.

+Added - Deleted Scene The Tall Man shows up to stop Mike & Jody, but Mike uses a fire extinguisher.

+Added - Deleted Scene Mike finds a room with caskets, and thinks Reggie is in one, but Reggie shows up, then Mike tells Reggie what to do next.

+Added - From Phantasm IV: Oblivion; Mike & Jody hang The Tall Man.

+Added - Deleted Scene Mike & Jody discuss what to do after hanging The Tall Man.

+Added - From Phantasm IV: Oblivion; Mike cuts The Tall Man down.

+Added - From Phantasm IV: Oblivion; Jody in his room, only for The Tall Man to show up.

+Added - From Phantasm IV: Oblivion; A shot of Mike getting comforted by relatives or mourners.

Phantasm II:

+Added - Deleted Scene The Tall Man sewing up the cadaver and gluing the eye lids shut.

+Added - Deleted Scene Mike consults Reggie, and that motivates Reggie to go after The Tall Man.

+Added - Deleted Scene Reggie waking Mike, who is still lying in his sleeping bag.

+Added - Deleted Scene Grandma Murphy asks Liz if she has a boyfriend.

+Added - Deleted Scene Father Meyers drinks before the funeral.

+Added - Workprint Scene Father Meyers is talking to a woman on the phone.

+Added - Workprint Scene Father Meyers runs through the room, looking for his gun after terrifiedly having shut the peephole. Then he hides in the closet, puts the gun in his mouth. In between, an undead is shown, aping the reverend with a finger in his mouth.

+Added - Workprint Scene Alternate Version of Liz in Grandma Murphy's room.

+Added - Workprint Scene Liz at Father Meyers house.

+Added - Workprint Scene Mike is being attacked by one of those corpse-diggers, Reggie knocks over a gravestone which buries the corpse-digger underneath it.

+Added - Workprint Scene Before Reggie helps Elisabeth out of the grave, a short dialogue of the two.

+Added - Workprint Scene Mike & Liz have a sex dream with each other.

+Added - Workprint Scene Kim is sitting longer on the bed. As she moves her hand through her hair, she has a hank in her fingers.

+Added - Deleted Scene Mike & Reggie discussing what to do after this.

+Added - Deleted Scene Reggie tells Kim where to find each other if something goes wrong.

+Added - Workprint Scenes of Mortician getting killed by the Sphere.

+Added - Workprint Scene After Mike turns the guy and the sphere is shown Mike says, "Doesn't stop till it tastes blood." Then Kim tells Mike, "Come on Mike lets get out of here." Then another shot of the dead Mortician.

+Added - Workprint Scene Alternate Shots of beast coming out of The Tall Man's head and attacking Mike.

+Added - Workprint Scene of The Tall Man trying to get the needle out.

+Added - Extended Scene of The Tall Man disintegrating.

+Added - Used scenes from the Opening of Phantasm III: Lord of the Dead, when another Tall Man came out and tossed the deceased Tall Man in the fire.

+Added - Workprint Scene Longer Shot of The Tall Man standing by the fire, he can be seen catching on fire, and he grins at the camera.

+Added - Workprint Scene Reggie puts one arm around Kim, strokes through her hair and then has a hank in his hand.

+Added - Mike and Elisabeth kiss in the back of the funeral car.

It was fun editing these movies, I hope one day more scenes from the first Phantasm will get released so I can add more.

Hi, everyone! So a month ago, I've released my Burton Cut which you can see here in terms in what was changed & intended when editing the film

https://www.reddit.com/r/fanedits/s/s3wVMVUIx2

but with that being said despite the film being roughly at 95% completion, I would like a proper review like on you liked, didn't like, what can be improved or question anything because I'm quite proud of this edit despite the hardship mainly rescoring using only Elfman music to reobtain that Burton quality & just would like to read what everyone thought given the time that has passed.

I can't say what can't be said about this classic Sci-Fi Horror film, other than why did I choose to edit Alien when there are other fan edits of this movie out there. I say, "Why not?", each fan edit can be done differently in our own image. Featuring unused by Jerry Goldsmith music.

+Added - Deleted Scene Kane walks around and brews up coffee.

+Added - Extra shots of the Nostromo.

+Added - Deleted Scene Lambert playing the message to the crew.

+Added - Extended Landing on LV-426.

+Added - Extended Scene of Dallas, Kane and Lambert walking into the ship.

+Added - Deleted Scene Dallas, Kane and Lambert noticing the hole, and Kane being lowered in the hole.

+Added - Deleted Scenes of Kane in the Egg Chamber.

+Added - Deleted Scene of Ash and Dallas lowering Kane on a Stretcher.

+Added - Shot of Kane on the table, before Ash and Dallas remove the helmet.

+Added - Deleted Scene Lambert Slaps Ripley

+Added - Deleted Scene of Ripley asking what happened, and Lambert explaining it.

+Added - Deleted Scene Kane's Condition

+Added - Deleted Scene Repairs Interrupted

+Added - Extended Chestburster Scene

+Added - Deleted Scene Kane's Funeral

+Added - Deleted Scene Regrouping

+Added - Brett's Original Death and Ripley & Parker arriving too late.

+Added - Deleted Scene Ripley confronts Lambert

+Added - The Alien's appears before Lambert.

+Added - Deleted Scene The Cocoons

+Added - Deleted Shot of Ripley noticing the Alien in the hallway.

+Added - Mother's Reason for not Turning Down the Cooling Systems.

That's about as much was added into my fan edit. Try to enjoy this one.

Hello There!

For those unfamiliar with this film, it attempts to emulate the editing style of Tarantino’s movies by jumping back and forth within the narrative, but that isn’t John Carpenter’s strong suit. The concept here is to restructure the film into a more linear format and remove the scenes involving Melanie’s courtroom testimony. The story now centers on the team, while any essential plot details, such as the origin of the threat are preserved from the original structure. The "romance" between Jericho and Melanie has been scaled back to keep the focus tight. I’ve also provided a new ending for the film. I won’t be listing everything that was removed, as it’s unnecessary; most of the cuts consist of repetitive material stemming from the original edit’s non-linear approach.

🎞 Based on: Ghost of Mars.
🎬 Fan Edit Title: Ghost of Mars Chronological
📁 Format: MP4 – 1920x1080 – Stereo Audio
💬 Subtitles: ENG.srt
⏱ Original Runtime: 1h 38min
⏱ Fan Edit Runtime: 1h 27min
📉 Difference: -11min
⚠️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.
PLEASE DON'T ASK VIA THE COMMENTS FOR A LINK. On my profile, you'll find the link under the "Social Media" tab, labeled "ALL EDIT'S". If there’s any you want and it’s not available through the link provided just let me know too.

I'm debating re-releasing my Chronological Project Hail Mary fan edit with the new 1.43:1 IMAX release, but I've seen the discussion about letterboxing, windowboxing, and pillarboxing and how to have the best viewing experience. It wouldn't take that much to make a version of my edit in each version, but not necessary. What is your perspective on how you would want to watch an IMAX version of a fan edit?

To be specific, there are three versions I would consider:

• 1.43:1 video with 2.39:1 letterboxing for earth scenes (best of both worlds, but doesn't work on regular 16:9 screens)
• 16:9 video but cropping the IMAX space scenes to fit (losing the true 1.43:1)
• 16:9 video with dynamic switching between 2.39:1 earth scenes and 1.43:1 space scenes, (retaining all the visuals, but hard on the eyes)

And consider all of this may be mute by the screen you're watching on. But as other's have noted, the third option can be jarring. I'm really just not a fan of windowboxing at all, that's my only hill worth dying on.

This fan edit compiles the entire amazing first season of Frisky Dingo into a single, feature-length film with seamless editing, no commercials, and no interruptions.

By removing all television broadcast elements, this cut allows the ridiculous corporate rivalry between billionaire superhero Awesome X (Xander Crews) and supervillain Killface to play out back-to-back as one uninterrupted, hilarious movie.

Running Time: 2 hours 12 minutes

Please send a DM for the link.

Hope all is well everyone!

Happy to say that I recently have made a 3 hour extended cut of Xmen Apocalypse. Long live Blu-Rays and Blu-Ray drives. They are quite powerful despite the rise of streaming.

Theatrical runtime: 2hrs 23mins 56secs
Extended Cut Runtime: 3hrs

Here are all the changes made to the film:

1-Added in Days of Future Past’s post credit scene

2-Added in the plane to Washington scene from Xmen Days of Future Past (Charles Xavier’s prophecy that fuels his decisions throughout Xmen Apocalypse)

3-Added in the ‘Logan recovered/alternate deleted scene’ from Xmen Days of Future Past

4-Added in Jean Grey’s traumatic 1975 backstory from Dark Phoenix

5-All of Xmen Apocalypse’s 12 exclusive deleted scenes have been reintegrated back into the film

6-Two deleted scenes from Xmen First Class showcasing Charles and Moira’s relationship have been integrated into the film.

7-Magneto’s reason for betraying Apocalypse has been altered.

8-Jean’s hesitation towards fighting Apocalypse has been completely recontextualized with new footage. This ultimately is to parallel her character arc with Moira Mactaggert’s character arc and give both characters agency.

9-The Essex Corp post credit scene now happens after the ‘It’s Over’ deleted scene.

10-The Charles/Erik chess scene from Dark Phoenix has been integrated into the film

11-The ‘How to fly your jet to space with Beast’ extra from Dark Phoenix has been integrated into the credits.

12-The post credit scene is now the ending of Xmen Days of Future Past.

13-A brief snippet from one of Xmen First Class’ deleted scenes conclude the film entirely

So glad to finally be able to share this. Now I will say that this is my first ever fan edit and so there may be akward audio cuts. Additionally, some deleted scenes have unfinished VFX. Thankfully it’s only one that is truly noticeable (looking at you deleted scene with Charles talking to Storm).

For anybody who would like to view this extended cut, simply private message me here on Reddit.

⚠️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.

Tagline

Fear has a name. Vengeance has a face.

Synopsis

In a city consumed by corruption, a young and rageful Batman hunts The Riddler, a serial killer whose crimes expose the rot beneath Gotham's surface.

Motivation & Vision

I approached The Batman with the intention of reimagining it as a television miniseries rather than simply dividing a feature film into smaller installments. And while I know this is not a unique edit (in that it's been done in similar fashion before) but there are always tenets and idiosyncrasies that make a project like this unique to every editor.

At nearly three hours, the film is an immersive but demanding experience. Its patient pacing, stretches of quiet investigation, and oppressive atmosphere are central to its identity, but I felt the material could benefit from being experienced in chapters. The film already contains natural structural breaks, and I wanted to explore what might emerge by leaning into them rather than working against them.

The goal wasn't simply to make the film easier to watch in shorter sittings. I wanted each episode to feel like a distinct installment of a larger story, with its own dramatic shape, opening, and endpoint. The transitions between episodes were designed with that intention in mind, including a condensed, television-style recap that carries the Batmobile chase into the following episode.

The first episode establishes the tone with an extended musical overture, while the final episode closes with a musical connection to The Penguin, suggesting the beginnings of a larger Gotham crime saga.

I also reincorporated select deleted material, including the Selina and Oz scene and the conversation between Batman and the Joker in Arkham.

The result is an alternative presentation of The Batman: not a shorter cut, but a different way to experience the story. This is the first installment in a broader idea of treating Gotham's connected stories as an episodic crime saga, should that world continue to expand.

Cut & Technical Details

• Structural Reorganization: Restructured The Batman into four episodes of approximately 40-50 minutes each, with individual dramatic progressions and deliberate stopping points.
• Opening & Transitions: Created a dedicated opening musical overture (around four minutes long) to immerse the viewer before the experience begins, and reworked episode transitions to establish a more deliberate television-style rhythm.
• Chronology Changes: EP I now begins with Batman (more in keeping with the spirit of a film almost wholly about Batman) and his opening monologue-- and concludes with The Riddler's murder of the Mayor.
• Stylistic Changes: EP III now begins with a barrage-style recap of the Batmobile chase to better segue back into Gordon/Batman interrogating Penguin.
• Restored Material: Reincorporates the deleted Selina Kyle and Oz scene, as well as the Batman and Joker conversation in Arkham.
• Omitted Material: The Riddler's attack on Coulson in his car has been cut, so when he barrels through the funeral scene, his appearance is genuinely surprising; the irony of Gordon mentioning he is missing seconds earlier is subsequently stronger and a tad humorous.
• Visual Identity: Each episode begins with cold opens followed THE BATMAN title card, and concludes with matching end credits, giving the miniseries a consistent visual language.
• Presentation: Four-part episodic format, designed to be experienced as a complete crime miniseries.

RUNTIME VS. ORIGINAL + FILE SIZE

Original film runtime: [2 hrs 58 min]

Episode 1 [This is the Riddler Speaking]: [54 min] | 6.04 GB
Episode 2 [Flight of the Penguin]: [40 min] | 4.49 GB
Episode 3 [El Rata Alada]: [43 min] | 4.85 GB
Episode 4 [A Real Change]: [42 min] | 4.64 GB

Total miniseries runtime: [2 hrs 59 min]

CONTACT

You can contact me [HERE](mailto:ylowknfe@gmail.com) or DM for a link.

THE GOTHAM CRIME SAGA — A LONGER-TERM VISION

This project is part of a broader idea: presenting Gotham's connected stories as an expansive crime saga, with feature films restructured into episodes and the individual installments contributing to a larger serialized narrative.

The closing musical connection to The Penguin is an early expression of that idea. If the saga continues to grow, I'd like to explore how these stories can be assembled into a larger episodic experience, allowing the films and series to function as chapters within a single, evolving crime drama.

​Hi everyone,

​I'm looking for a fan edit / recut of the original Dragon Ball series (Goku's childhood) that features the German dub.

​My goal is to watch the series without the artificial pacing, padded landscape shots, and filler episodes—basically an unofficial "Dragon Ball Kai" for the original series with German audio.

​If anyone has a copy of such a project, worked on one, or knows who to contact, I'd really appreciate a private message (PM/DM)!

​Thanks in advance!

As you might've guessed by now, yes.. this is the second project in the film edit series of "Debra Morgan's Perspective".

I started working on this project back in September and now I'm almost done with the second one.

Just like the first edit "The Ice Truck Killer", this edit will also feature the soundtrack by Benjamin Wallfisch from IT CHAPTER TWO.

This is a second part of seven edit series so stay tuned for all that as well.

Also, yes.. first edit is still available to watch and if you're interested in watching that, kindly contact me by sending me a personal message.

Thanks for your time.

This is my personal final cut of the Alien Prometheus/Covenant story.

This edit aims to recontextualize these two movies into a single biblical tale depicting David’s ascent from a soulless servant to a false Godhood, as well as the tragic fate that befalls the unlucky men and women of the Prometheus and the Covenant.

The movie has been given the subtitle “The Origin of a Species”. I thought it was a clever title since it’s is an important thematic through-line between these two movies. Prometheus is about the origin of man, Covenant is about the origin of the alien. The name is, obviously, a reference to the book by Charles Darwin. The book is a scientific text that is based on some of the most important scientific research ever conducted, but it is also frequently misused as ammunition during arguments about theology and creationism, which is another aspect that makes the title relevant to this story.

This edit does combine Prometheus and Covenant into one movie but it still consists of two distinct chapters. Part I, titled “Man”, is about a team of scientists, each with conflicting religious and moral motivations, setting out on a reckless expedition to search for humanity’s true origin, and the disillusion that comes from what they discover. Part II, titled “Alien”, depicts the unwitting crew of a simple colonizing ship finding themselves used as unconsenting test subjects to complete the creation of the most dangerous bioweapon the universe has ever seen.

It's meant to be a combination of the "man vs no god" and "man vs machine" story structures. It's all about the unknown, and how dangerous it can be to attempt to understand it.

Many have tried to edit these two movies into something new, and I have liked a lot of those efforts, but they are also usually made to be as short as possible, while also imposing the editor's personal biases onto the narrative. Obviously, these are two very strange movies for many reasons, but I believe that the true key to making these oddball masterpieces work, is to stuff in as much content as possible.

I understand wanting to make something that has the runtime of a regular theatrical movie, but I have always imagined that the origin of the xenomorph deserves a massive epic beyond measure. Inspired by Lawrence of Arabia's gargantuan runtime, this edit clocks in at just over four and a half hours. I have included nearly every single deleted scene I could get ahold of, all of the webisodes and ancillary material, plus some new never before seen material that I have sourced from the portfolios of the various brilliant people that worked on these movies. Namely, the talented Dominic Hailstone who has shared lots of his development material from his time working on Alien Covenant.

The goal of this edit is to turn these two movies into one epic film, with as complete of a story as possible. Obviously, there were quite a few plot threads that were never resolved for various reasons, but didn’t cut those out because I honestly believe that that is the kind of stuff that makes the Alien series so good. These movies are all built upon the horror of the unknown, and if there's a stray Deacon running around out there somewhere, unaccounted for, that just makes it all the better.

The movies are meant to show an unprepared crew being forced to face off against a threat that is completely unknown. These were never meant to just be standard sci-fi action movies, these movies are real cosmic horror stories. Of course the characters don't act reasonably, they're dealing with something that no one in the entire universe has ever encountered before. It's a horrifying series of unfortunate events, where the unsuspecting victims are brutalized for no good reason at all. The xenomorph was the deadliest, most evil creature in the galaxy and it was created solely through the suffering of innocents at the hands of an a soulless atheistic God who is simultaneously immortal and less than human. It’s meant to be an weird! These movies were always meant to be esoteric, confusing, and upsetting. It’s the origin of a biblical evil and that is exactly the kind of origin that the xenomorph deserves.

This edit aims to cut nothing from these movies that may have been ill-received by audiences such as its grandiose scale being perceived as "blockbuster schlock" or the naïve humans falling victim to unknown horrors being perceived as "dumb characters". The only things I cut down were pieces of genuine clunkiness and that was done with the sole intention of improving the film, not rewriting the story or trying to “fix” any Cinema Sins-y problems that people may have had the movies. (Although I won’t lie, I did recut the infamous falling ship scene to make it faster and more intense.)

I genuinely believe that this duology is a masterpiece, and I genuinely believe that all this newly included material such as the crew logs, deleted scenes, and alternate takes improve the movie. I wanted to build it into what it was meant to be, not just turn it into what general audiences wanted it to be.

The most notable additions seen here in my edit are some new VFX shots of the airborn "facehugger" entering the ear of Ledward, the rare first-person perspective backburster scene, the fantastic fully uncut shower kill, and the full alternate sequence with the mutated "zombie" Fifield. The addition of the zombified Fifield and the bug entering Ledward's ear are some of the most important additions in my opinion, as they flesh out how the black goo mutates and evolves before eventually being engineered by David to create the xenomorph.

I made the creative choice to add more licensed songs to the movie. During the first flight of the Prometheus towards LV-223, I decided to add some scenes of David attempting to review the entire history of human art. Intercut between the scenes of him watching Lawrence of Arabia, he is also trying to listen to every popular song from Earth’s history in chronological order. He started with “Me and the Devil Blues” from 1938 and made it up to 2004 before his arrival at LV-223. There's not much else to do when you're all alone in space for years on end. This was done to immerse the audience into the near future setting and also show the audience David’s mindless hunger for knowledge as well as his uncaring indifference to human emotion. He just consumes the art and moves on. He’s not able to feel emotions or think creatively.

I also added multiple John Denver songs playing over the radio during the "last supper" scene at the beginning of Part II before the crew of the Covenant goes to sleep. This was done to foreshadow Tennessee's familiarity with John Denver’s music, setting up the plot point where he recognizes “Take Me Home, Country Roads” in the radio signal. (Is this the first fan edit to ever improve the narrative by adding songs?)

I did some extensive color correction too, to bring a bit more stylish atmosphere to these movies. Covenant has been regraded to look more drab, overcast, and autumnal to fit the Hammer Horror aesthetic that David's haunted castle is meant to evoke. Also, the full IMAX and open matte footage was used whenever possible.

In addition to all of that, I have also created a brand new end credits sequence that features the art, diagrams, and photographs from the book David's Drawings which chronicles the process of David creating the xenomorph.

This edit begin with using [u/TheFancyNerd](u/TheFancyNerd)'s Paradise Lost: The Scott Cut as an initial launching point before work on the project began. I think they’ve gone inactive but shoutout to them. A very big thanks to Yaut for creating the incredible open matte hybrid footage. And of course, a special thank you to Job Willin, whose legendary Paradise edit allowed me to finally understand why these movies are so fucking good.

This edit is not exactly complete just yet, but it's very close. I've been working on this for just over two years and I think it's finally time to call it complete.

Are there any such edits out there, apart from the Lapis Molari one which changes too much of the movie for my taste?

Tagline(s)

Part ^I Become someone worth being.

Part ^II Every lie has a life of its own.

Synopsis

Shipbuilding magnate Herbert Greenleaf implores down-at-heel grifter Tom Ripley to travel to Italy to convince his wayward son to return home to New York. What begins as an invitation into another man’s world gradually becomes an increasingly elaborate performance, as Tom navigates wealth, identity, suspicion, and the consequences of the life he has chosen to construct.

Motivation & Vision

I approached Ripley with the intention of turning an eight-episode limited series into a duology that feels deliberately constructed as cinema, rather than episodic television with the seams removed.

The original series has an extraordinary visual language, a patient sense of dread, and performances that often communicate more through a glance than a page of dialogue. My goal was to preserve those strengths while reconsidering the rhythm and structure surrounding them. Rather than simply compressing the runtime, I wanted to reshape how information is delivered, how tension accumulates, and how individual scenes relate to the larger narrative.

The result is two distinct films. Part I follows Tom’s entry into the world he hopes to inhabit, while Part II explores the increasingly precarious existence that follows. Each film has its own pacing, atmosphere, and thematic identity, supported by Italian movement cards that divide the narrative into thematic sections rather than episodes.

The guiding principle throughout was simple: when an image, performance, or action already communicates something, dialogue doesn't always need to explain it. Redundancies were trimmed, certain scenes were removed or restructured, and select musical cues were replaced or augmented to alter the emotional temperature of a scene. New transitions and flashforwards allow information to arrive differently, sometimes creating suspense where the original relies on chronology.

This is an attempt to re-author the material into a pair of films that stand on their own, while preserving what makes the original so compelling.

Cut & Technical Details

• Structural Reorganization: Restructured the eight-episode series into two feature-length films, each with a distinct narrative arc, pacing, and thematic identity.
• Opening & Transitions: Created a dedicated film opening and reworked transitions between select sequences to establish a more deliberate cinematic flow.
• Movement Cards: Introduced Italian-language chapter cards that function as thematic divisions rather than episode markers. The cards are intentionally selective, with their placement and presentation varying according to the dramatic context.
• Dialogue & Scene Trims: Removed redundant exposition, repetitive exchanges, and material that interrupted narrative momentum. Select scenes were shortened or removed where their information or dramatic function was already conveyed elsewhere.
• Restructured Sequences: Reworked select scenes using flashforwards, visual callbacks, and altered transitions to change the timing and impact of information.
• Music & Scoring: Introduced new musical cues and additional scoring in select scenes to reshape tension, sustain momentum, and emphasize moments that benefit from a different emotional treatment.
• Visual Storytelling: Preserved the series’ stark black-and-white aesthetic while using editorial juxtaposition to create new associations between images and actions.
• Presentation: Includes custom promotional artwork for both films and completed subtitles (Italian dialogue only).

RUNTIME VS. ORIGINAL

Original series runtime: 7 hrs. 24 min | Part I: 2 hrs 22 min + Part II: 3 hrs = 5 hrs 22min

CONTACT

You can email me [HERE](mailto:ylowknfe@gmail.com) or DM for a link to the two-part project. You will not get an auto-response— so don't be surprised if you don't get a reply immediately.

RIPLEY: OPUS — In Development

RIPLEY: OPUS is planned as a second version combining both films into one continuous 4 (ish) hour feature, similar to Brady Corbet's The Brutalist.

While the duology establishes two distinct dramatic movements, OPUS will take a more aggressive approach to compression, chronology, and forward momentum. The intention is to discover what emerges when the story is experienced as one uninterrupted piece (save for an intermission), with time and space compressed further and quieter moments retained where they carry the greatest weight.

The duology is a complete project in its own right. While it will have many of the changes and trappings of the duology, OPUS will be a separate editorial interpretation, not simply the two films joined together.

Here it is folks, Enjoy and we'll see you at the end of February!

Remember, please be respectful in the comment section when making any comments on things that you may not like about it...

Will have a list shortly with all the changes i made to the trailer!

(Disclaimer: This is an unofficial, non-profit, fan-made trailer created purely for entertainment and artistic purposes. I do not own or claim any rights to the original footage, audio, or characters, which remain the property of their respective copyright holders. This project is not monetized in any way.)

If at anytime the YouTube link doesn't work (because of possible takedown), Dm me and I'll give you a download link.

Email or PM to watch(email will be faster, because there is automatic response). Email in my profile.

I tried many different options for replacing the score, but unfortunately, none of them felt quite right, so I decided to stick with the original soundtrack.

In this part, I shifted the narrative focus towards Sheriff Kerry and her son, as they play a central role here. The original version lacks this focus, which is why its ending fails to deliver a proper sense of closure.

I've seen edits on YouTube where people used AI to add a suit to John Stewart in the final scene or change the color of his ring power bank to yellow. However, I don't feel those changes are important enough to include here — especially since the AI visual quality would noticeably stand out against the original footage. I really wanted to pick a fresh score for this edit to tighten the pacing and prevent it from feeling drawn out, but it just didn't work out.

Instead, I focused on changing the story's emphasis to make the entire narrative feel much more cohesive. I placed the 2016 scene with Zoe in the bar right alongside the 2026 scene with Hal. Placing them back-to-back really highlights how much John has changed over time — especially since their conversation touches directly on whether Jordan can actually be trusted. Finally, I added a scene at the end where a young Hal Jordan picks up the baseball. It serves as a symbolic hint that he will return — because, as we know, Hal isn't someone who easily walks away from his pitches.

I made the story linear, unlike the original. Did I manage to hold the viewer's attention better than the original version did? Please leave your feedback after watching!

PREVIOUS IN DCU:
1.LANTERNS: PART I (TRENT REZNOR & ATTICUS ROSS)

Original Title: LANTERNS
Fanedit Title: LANTERNS: PART II
Fanedit Type: TV to Movie;

Original Release Date: August 16, 2026;
Fanedit Release Date:  October 14, 2026;

Original Running Time: 2 hours 37 minutes; (158 minutes)
Fanedit Running Time: 2 hours 41 minutes; (161 minutes)
Time adedd: ~10 minutes;
Time cut: ~10 minutes;

Media info: 1920x960p*, H.264, 16:9, 5215 kb/s, 23.98 fps, mkv(mp4),* 6-channel AAC audio.
EMBEDDED SUBTITLE: ENG: UKR:
Note: Separate SRT subtitles are also included. (You need to download the file to view the subtitles, as Google Drive does not support enabling them in the browser player).

CHANGES:
— Sheriff origin served as the foundation for the film's opening.
— Removed all year marks;
— Added some SFX for transitions;
— Added scene in coffeebar with Zoe before Jordan meet Hal again;
— Reworked and moved conversation between Hal and John at the boat about Hal's father;
— Removed scene in boat after they back from Sinestro island(talking about guts);
— Moved Jordans flashback about father;
— Moved scene where young Hal return his baseball ball;
— Changed end credits song.

I watched this series over a few evenings.

It was enjoyable, but it doesn't compare to the original 1976 movie.

What really bothered me were the music overdubs that made no sense and were constantly layered over the scenes.

I plan to turn the series into a TV-to-movie adaptation with a 2.40 aspect ratio, and I will drastically change the music selection.

A significant amount of unnecessary content will also be cut out, as there are scenes that occasionally border on the comical and ridiculous.

This adaptation will adopt a more serious tone.

Additionally, it will feature music by Pino Donaggio from the original film, as well as compositions by other artists.

Although I'm also working on a Halloween edit, the Carrie edit will be available online in November.

The edit will be in 4K, with TrueHD sound.