1. VERSION 1 (Superbeast by Rob Zombie)
2. VERSION 2 (The Punisher by Sonic Fuel)
3. VERSION 3 (More SFX for Superbeast by Rob Zombie)

My goal is to create a new soundtrack for this short film and remove unnecessary PTSD-inducing moments. The original idea was to overlay a great soundtrack from a video game. However, two different tracks fit the opening scene: naturally, the more dynamic one is more appealing, but the second one captures that exact atmosphere from the 2004 game.

(poster source)

It’s been a long and incredibly challenging journey to bring this edit to life. Polishing all the fine details meant working through constant Russian missile attacks targeting my city and the rest of Ukraine every single day. I had drafted the core structure a while ago, but the project ended up sitting untouched for about six months. There were so many moments when I genuinely doubted I’d ever be able to finish it and share it with you all.

When I first saw this movie around the age of 14, I absolutely loved it. I couldn’t wrap my head around why anyone would dislike it — more action, more villains, what wasn’t to love? But over time, certain elements started to bug me: Harry’s sudden amnesia, the retconning of Uncle Ben’s killer, and way too much dancing for a non-musical film.

The original vision of leaning into a darker, horror-infused tone was brilliant, but studio constraints and a PG-13 rating cut that short. Expressing the symbiote’s corruption through dance felt like a missed opportunity. Yet, looking back today — especially alongside Marvel's current slate of "projects" — this film has aged remarkably well, and even its flaws carry a nostalgic charm.

This edit is a hybrid of both the Theatrical and Editor's cuts. My initial goal was to polish the Editor's Cut because several scenes felt misplaced chronologically. For instance, the scene where Peter sits in his room wearing a blue shirt and wanting to put on his black suit takes place during the day, followed immediately by Harry and MJ’s date at night. But then the film jarringly cuts right back to Peter in the exact same blue shirt when Ursula enters to tell him MJ is on the phone.

A personal favorite discovery of mine was matching the score: the music playing when Peter leaves the Daily Bugle during the day (after Eddie Brock is fired) is the exact same piece that plays during Peter and Harry's fight. I reordered these sequences to reflect what feels like their original intended structure. We all know this film suffered from heavy studio cuts and reshoots we'll likely never see — like Brock visiting the Stacy home or kidnapping Flint's daughter at the end.

My primary goal, however, was to overhaul the film’s opening. I always wanted Part III to kick off with something far more dynamic and captivating than the canonical voiceover recap. By restructuring the beginning to launch directly into the crane disaster, we are introduced to Eddie Brock much earlier, creating a stronger sense of urgency and an immediate race for the staff job at the Bugle.

While editing, I also noticed a fascinating thematic mirror in the story that I had never picked up on before: Harry refusing to listen to or forgive Peter for his father’s death directly parallels Peter refusing to listen to Flint Marko and only seeking revenge. It's surprising how that dynamic never stood out to me until I broke the film down scene by scene.

(If I removed something, it doesn’t mean I think the scene or moment was bad. I simply reworked it to match my own vision — and I wanted to share that with you.)

PREVIOUS IN SPIDER-MAN:

1. With Great Power: A Spider-Man Story Spider-Man (2002);
2. Who Am I? A Spider-Man Story; Spider-Man 2 (2004);

Enjoy the film!

How to watch you can find in my profile. Asked for link in commentary will be ignored.

Original Title: Spider-Man 3; Spider-Man 3: Editor's Cut;
Fanedit Title: We Always Have a Choice: A Spider-Man Story;
Fanedit Type: FanFix;
Original Release Date: May 4, 2007;
Fanedit Release Date: August 4, 2026;
Original Running Time: 2 hours 19 minute;
Fanedit Running Time: 2 hours 12 minutes;

MEDIA INFO: 
Video:
1080, H.264, 16:9, 15 016 kb/s, 23.98 fps, mp4,
Audio:
1. English track — 5.1 ch.;
Subtitle:
English; Ukrainian;

CHANGE LIST:

— Added custom sound effects to blend transitions where background music was altered or replaced, including the track:
"Spider-Man 3 - Main Title - Rescore by Théo Schmitt (Backing Track) (Mel-Roformer deux by becruily)";
"Heart-Shaped Box - Musora Session · Ulysses Owens Jr. · Musora · Kurt Cobain";
— Added a cold open scene from Spider-Man (2002) before the main titles: Uncle Ben’s conversation with Peter about responsibility (with the school fight reference cut), setting up a thematic echo for Peter’s line: "What, do you think I'm gonna turn into some kind of criminal?". Later these words was added like memory when Spider-Man sitting on Chapel.
— Restructured the opening: film now starts directly with the crane rescue sequence for a more dynamic intro;
— Introduced Eddie Brock much earlier in the narrative;
— Fixed continuity errors from the Editor’s Cut;
— Reordered the Daily Bugle exit and Peter/Harry fight to match the musical cues and intended narrative flow;
— Moved Harry’s memory recovery scene to occur before his dinner with MJ, giving new weight to his line "we're gonna hit him in the heart";
— Removed the bridge break up scene (trimmed for pacing and tone);
— Removed the scene where Harry forces MJ to break up with Peter;
— Replaced the soundtrack during Peter’s black-suit dance sequence;
— Removed scene with Stan Lee’s cameo;
— Trimmed Aunt May’s conversation, removing the monologue about Uncle Ben’s proposal;
— Split Sandman’s visit to his family’s home into two separate scenes;
— Trimmed Peter and Gwen’s jazz club dance, removing the over-the-top acrobatics;
— Added memory flashbacks and sound overlays of Peter Parker during Eddie Brock's symbiote transformation;
— Moved the scene of Flint’s wife and daughter in the park to the end of the film to conclude Sandman’s character arc;
— Reworked the ending: >!film now closes with Peter watching MJ’s apartment from afar while she sings at the jazz club before walking away;!<
— Trimmed various minor shots across the film for smoother transitions and improved pacing.