Has this fan edit been completed and is it now accessible? If it is, would you kindly provide me with a link? I have a great deal of interest in it.
A current draft exists (the one that got reviewed in the thread), I’ll send it to you, I haven’t had time to update it (and some of the suggestions to improve it are beyond my skill level anyway)
Thoughts on the new animated movie Subject?
I’ve been waiting and hoping for something like this. So thanks for doing it, and I can’t wait to watch?
That said, as vranir suggested above, do you have an alternative download site from MEGA?
I could try Mediafire.
I had a google account, but it got locked for copyright violations last year
Yes, cost, time, etc, it all compels one to "work with what’s familiar’, even if it doesn’t give you the edit you wish to realize.
Still, I will give this another crack in time.
Thankyou for the very detailed feedback, I appreciate every bit of it. Not that many people dissect my edits quite in this level of detail and I usually never know what I’m doing right or wrong.
My editing software is not the best, in fact I probably would not recommend it, I use the cheapest things and as much as I try to increase the volume or blend the audio together, it always varies. I probably should think of upgrading, but I’ve tried before with more professional equipment and my learning difficulties make it hard. Also I am not a VFX or deepfaking major so I probably can’t help with some aspects you point out.
Now, onto the narrative…yeah, there’s many moments where I ‘cut corners’ to keep it to a healthy level, I didn’t want a four to five hour cut like “Last Son of Krypton”, you probably would have found my two hour twenty minute version worse off for this had I stuck with that, it’s very much how a studio would butcher a Trek movie. Judging from your takeaways, I think a cut like this would have came out after the 2023 writer’s strike, rofl (ah, one can laugh at one’s self)
I know Beverly’s recovery seems a little quick, but that can’t helped considering she’s awoken in the midst of the Vadic/Shryke engagement, and my goal was to remove all that. Prior cuts did keep her battle in, but the Shrkye was destroyed after the escape from the Nebula. I probably could look to re-including that in another draft.
My goal was never to retcon seasons one and two, they still happened, Picard’s death and synth body thing still happened etc. They don’t have much of a narrative purpose, but it’s better than cutting swaths of dialogue.
An update
The current draft is available to view, but I am already working on an improved second version that increases the length to two hours, thirty eight minutes. If you wish to view the outdated 2 hour 25 minute first draft, feel free to drop a line, or you can hold until I upload the new version.
Only took me two and a half days, but I turned Picard season three into a two hour and twenty-five minute movie
Film is about 90% entirely about Jack and his connections to Picard and the Borg
What I removed:
-Vadic, all battles with the Shryke
-The infiltration of Daystrom Station and Moriarty’s cameo
-The entire “Picard’s body is stolen” plot (being the nitpicker I am you’d think the Borg would have some of Jeaun-Luc’s DNA around long after assimilating him anyway)
-The whole business with the portal weapon and the Starfleet recruitment building destruction
-All of Rafi and Worf’s separate scenes (Rafi still shows up because I couldn’t cut her entirely, but it feels like she’s just a senior Titan crew member now)
-Now all of the Next Generation crew arrive at the Titan at once per Picard’s request
-Added footage from the first episodes of seasons one and two
Can I get a link for this? Thanks!
PM sent
Thanks, dude, You got mad skills, and this edit idea is dope. Do you still have your WandaVision Edit?
I do have the Wandavision edit, and I will be reuploading it soon!
I appreciate your amazing feedback and ideas for improvement. Edits are always in a state of creative flux, and when you have at least one set of ideas, someone will come up with a thousand other different ones, you have some excellent points and ways to tighten the bolts on the edit.
Magneto taking Jean in and just keeping her around is a much better idea, I agree, I don’t know what I was thinking just having her tail off, but then I wonder why Eric wouldn’t have used her much sooner…and then I remembered he’s supposed to be more of a pacifist at this point and needed the motivation. Your concept of his family being murdered from Apocalypse would have given him that drive to seek Jean out if he had let her go, so yeah, that scene could definitely be included for more drama.
PMS sent
PM sent
Edit reuploaded and PMs sent
I’m trying to upload it at the moment, be patient.
PM sent.
Towards the end of the one and only season of Centurions there are several multi-part adventures that serve as functional series finales. There is the epic five-parter Man Or Machine which reveals the origins of the Centurions, Doc Terror and Hacker and involves a battle to liberate Skyvault from Terror and stop an alien machine from destroying humanity. Other candidates include’ To Dare Dominion which appears to kill off Terror and Hacker completely and wipes out their base of operations after they unleash a near universe-consuming Lovecraftian nightmare, and The Better Half, where Terror and Hacker’s robot halves combine to create an even more powerful and malevolent threat, forcing them to ally with the Centurions and destroy those parts of themselves. The story also resolves the Belligerent Sexual Tension between Centurion Ace and Crystal Kane, as the two finally kiss.
So I figured, why don’t we just combine all those potential ‘outs’ and see what we get out of it?
Changes
-Doc Terror and Hacker working on the continuum-crashing vortex moved to the start of the edit, so the audience is informed of what’s to come after the crisis with Gog is averted
-Entire Uniborg plot of “The Better Half” removed, we only use the Ace/Crystal parts
-Inserted footage from the early series episode “Operation: Starfall” after Ace is beamed back aboard Skyvault in rough shape, this sets up the Ace/Crystal romance later
-Crystal is no longer shown to be embarrassed by Ace kissing her in front of his friends, doesn’t get her own back afterwards when Lucy kisses him (Lucy does eventually kiss him, but Crystal isn’t around to laugh at it)
-Max’s response to Jake regarding the fate of Doc Terror removed. He is definitively dead to serve the purpose of this edit, which is to give us closure.
-Use of the scene from “Man or Machine” where Rex and John are accepted into the Centurions now moved to the very end. Ace attempting to ask someone else out on a date removed, as he’s with Crystal now.
Most commercial break fades have been retained for two reasons
But, Really, mostly laziness.
It’s presently offline, sorry for the inconvenience but I’ve taken a step back from editing and need the space for other projects.
Red Dwarf hasn’t always had it easy despite what DAVE might tell you. Towards the end of it’s run on the BBC it was still attempting to recover from the loss of Rob Grant and Doug Naylor, the other half of the coin, was trying to keep the show afloat as best he could, and while he would have better luck many decades later, those first two series without Rob were a struggle with fans in regards to quality.
No series before or since took a greater hit than series VIII. A widely-derided series with inappropriate grossly deviant or sexually explicit humour and an unpleasant experience with very unlikable characters, both as leads and supporters. The series fizzled out in 1999 with a downbeat and hopeless finale that didn’t resolve anything and by the time the series returned ten years later, there was no appetite to pay respect to the continuity that came before.
What’s so frustrating about the finale “Only The Good…” is that it didn’t have to end the way it dd. An altogether triumphant and upbeat happy ending had already been recorded, but was ultimately abandoned. The ending, while it had it’s lions share of pacing problems and unfunny jokes, still would have ended the series’ tenure on the BBC on more wholesome grounds, even if it had clashed with the prior mean-spiritedness of the episodes prior to it.
There already exists an edit of “Only The Good” many years ago that used that ending, and I wasn’t content to just replicate. Do something new, or what’s the point?
So I decided to take the woefully structured two-parter “Pete”, disssemble it, remove the tedious bits, stitch it back together in a different order, and add the relevant plot points of “Only The Good” to it also.
In this new narrative, we begin with the Microbe infecting the ship, then Kryten, Cat and Kochanski discovering the Time Wand, then the basketbtall game leads to Lister and Rimmer being immediately sentenced to The Hole rather than later. When they’re busted out by the Scutter, they go with the rest of the Dwarfers and discover the microbe, the staff evacuate and leave the prisoners to die. The Dwarfers think they have an ace up their sleeve with the time wanda, but The ordeal with Pete the T-Rex then begins. After that’s done, the Dwarfers send Arnie into the mirror universe where he gets the antidote. We remove the stupid joke about the antidote becoming the virus and end with the alternative ending and Red Dwarf heading off to new adventures leaving Hollister behind (also removed the vending machines’ revenge since the set-up isn’t in this edit)
PMs sent
Hey X-Fans, I’m pleased to announce that my X-Men project “The Dark Stand” is now up on IFDB and available to download.
This is a top-to-bottom rebuild of the original version I posted back in 2019, back when it was called “Dark Phoenix, Dark Stand”, I’ve went with a far less clunkier and more straight forward title this time around. This edit also took a few pointers from another edit that was directly inspired by my original (“Rise and Fall of the Dark Phoenix” by jimbojka)
For those not familiar with it, this is a merging of Dark Phoenix with X-Men: The Last Stand and a little bit of X-Men: Apocalypse.
An idea I brain-stormed in between sorting out other edits, it occurred to me just how easy it is to merge the two storylines together by simply removing the involvement of the aliens as well as everything after Jean leaves Magneto’s island. I feel merging both films helps in some small part ‘redeem’ them for their otherwise large flaws in storytelling and adds extra weight and dimension to Jean’s struggles rather than the random heel turn from the original third movie.
If you’re looking for a movie that serves as the third in the trilogy that began with X-Men Days of Future Past and continued with Apocalypse, you’ll find some difficulty here, due to the conflicting continuity with Angel’s inclusion and backstory here, I would rather you see this as the third in the trilogy begun in X-Men First Class and continued in Days of Future Past instead
Changes from the original movies are
DM for link
Transformers: Darkest Hour by Mark Moore
On a narrative level, the story is very clear and both Optimus revival episodes compliment each other well, I quite like how Mark synched up Optimus’s suicide mission with his rescue. Being an editor I have often wondered if one could skirt around showing the crisp and clean looking Optimus the whole time the rescue mission was underway, but watching it with it fresh again in the memory I can now say that would prove monumentally difficult. Obviously the continuity gaffs can’t be avoided, but the storyline still works.
There were instances where I feel the traditional Autobot/Decepticon logo flips would have provided better transistions than some abrupt cutaways and transistion fade-ins, the sequence following Prime being revived for example is quite sudden, as is a scene from earlier which switches from a sun to the moon (visually that’s great, it’s just the audio cut that sticks out)
I had an issue with Optimus being brought up to speed, but Mark explained why it was neccersary to keep the recap of part one in the edit even if we as the audience know what’s going on, and I understand the choice better.
There is plenty to enjoy in this omnibus, and it was good to revisit some of these really solid run of storylines and characters, combined with a firm restructuring of the visual specifications, I would still recommend viewing this edit even if I have a feeling it’s only a few steps away from being truly refinedst of us.
Batman and Robin: Deep Freeze by Musiced21
Musiced has made us believe in the same way Donner enabled us to have faith in a man who could fly. Here, a Bat has earned it’s wings!
Deep Freeze is a tidy, focused 90 minute forraye into the themes of lust, loss, age, vulnerability, teamwork, and family. It feels very much, through the use of the atmospheric and gothic filtering and editorial course corrections, like a natural end point for the Batman of '89 in his middle age if he had allowed himself to be more open. The performances are more dialled in, their stories make sense, there is strategy to the cuts that sees Freeze at his absolute, with Ivy helping his arc along. Ivy isn’t forgotten in the crosshairs either.
The choice of music also brings the film more in touch with the earlier Burton movies without being beholden to them, and the scores bring out the more humane and sombre touches, bringing to life every character action, reaction and motivation.
It’s often said you can’t polish a turd, but somehow Musiced has manged to thaw our hearts and made us revaluate this little popsicle Batman and Robin can be made ideal in an unideal world, which means there’s hope for the rest of us.
Updates on the current workprint (I’ve sent a copy to stretch09)
-Edit length is 3 hours 6 minutes with credits.
-Film now opens with Gwen’s death from Amazing Spider-Man 2
-First time we see Toby’s universe is the rescue of Raimi Gwen
-The aftermath of Mysterio outing Holland’s Peter is trimmed down significantly (example, when Peter is told not to say anything without a lawyer, we cut immediately to Matt Murdock clearing up the charges over the phone)
-Harry dies early on and without redemption, consumed by his hatred for Peter and his devotion to revenge. This lines up with what Peter tells Ned later about his friend dying in his arms.
-MJ’s love convinces Peter to reject the symbiote, but despite their love, Peter is convinced he’s hurt MJ through his actions with Gwen, and thus isn’t ready for marriage.
-Peter confronts Flint in the black suit the same night as Flint gains his powers
-Eddie is now ‘humbled and humiliated’ by Symbiote Spider-Man smashing his camera. His request that God kills Peter Parker is cut.
-We switch from SM 3 to No Way Home while Peter is in the shower, we cut to Holland’s Peter on the highway confronting Doc Ock. His initial meeting with Strange is cut and we learn from Strange later what he actually did.
-Inserted the line “I Forgive You” from Spider-Man 3 after Peter assures a cured Flint they’ll be going home.
-Tom Hardy’s Venom used for the final scenes, just because he looked comics accurate.
-Film ends with Peter wanting to talk to MJ but can’t find the words so takes his leave, he finds out Venom is on the rampage and the last shot is of him looking at his Spider-Man costume. Nothing ever ends, the power and responsibility remains.
While working on the full-length version of this project (the ‘real one’ is well over three hours), I decided, as a fun challenge, and for a bit of a laugh, to see if I could condense it down to a two hour 28 minute ‘studio’ cut. This follows in the footsteps of other parody ‘executive meddling’ edits such as “Last Jedi: The Coward’s Cut” and “How A Studio Can Ruin Jurassic Park”…imagine a world where Sony greenlit a dream combo, Spider-Man 3 merged with No Way Home, and proceeded to make a slew of bone-headed decisions with it all the way through to the final product, all to quicken the pace and get people in and out of the theatre in no time at all.
Won’t spoil much in this cut, suffice to say the three hour version will give everything much more room to breath…also, if you’re looking for the three hour cut to simply be this one only it’s longer, forget about it, it’s practically an entirely different cut. This is Josstice League to the inevitable Snyder take.
…Though, who knows, maybe you’ll end up enjoying it despite the intention, and may come to think it has merit on it’s own, it’s not like I went on to make an intentionally bad parody edit.
Whenever fans think of No Way Home and the Raimi verse, sometimes their minds drift immediately to make the next “Spider-Man 4” and leave the first three alone…but I think there’s so much to mine out of the existing third film that it only makes sense to turn any sort of Toby focused take on NWH into a much more improved Spider-Man 3.
Everything largely clicks for me in my current timeline, except the Sandman. He needs to figure out who Peter is beore the spell can affect him, but I’m gradually beginning to piece together the story.