The anti-Roman Polanski movement in France might not be as intensely supported as in the US, but it’s definitely been picking up steam the last year or so.

Back in of May, in 2020, MGM announced they had picked up David Robert Mitchell’s "Heroes and Villains.” This was said to be a “genre-bending” take on superheroes that Mitchell would write and direct for the studio.

The industry was stunned this past year by Warner Bros’ total shelving of “Batgirl.” Was the film that bad that it needed to be put destroyed from existence? Is it a cursed movie that kills you seven days after having seen it, ala “The Ring”?

Is Jean-Luc Godard going to have two posthumous films premiering at Cannes this coming May?

I see some people finding glee in “Babylon” bombing at the box-office. Even critics are enthusiastically panning the film in their reviews. Why?

UPDATE: Just a reminder that you have until tonight at 11:59pm to submit your list. This is turning into the biggest readers poll I could find online. The amount of ballots submitted has been overwhelming. Thanks to all those who have participated so far.

Romain Gavras’ “Athena” has been available to stream on Netflix since September. It premiered in Venice competition that same month.

Soul-sucking corporate-branded product. That’s how I’d describe —almost— every single one of the ten highest grossing movies of the 2022.

Criterion just published their preview of hotly anticipated titles for 2023. Most of the list has been covered on my 80 must-sees list. I did find a few that I may have missed and are now on my radar:

I’m not really sure where to start on Noah Baumbach’s “White Noise”. I saw it back in October, but I just haven’t had the energy to write anything about it.

Noah Baumbach’s absurdist “White Noise” is now available to stream on Netflix. No matter its flaws, it’s a fascinating film that no cinephile wouldn’t want to give a look at, especially since it’s freely available now on the most popular streaming site in the world.

James Cameron has been sucked up by the 3D virtual reality that is Pandora and, by all accounts, he doesn’t mind staying there for the rest of his career.

One of the better stories of 2022 indie cinema is the streaming success of the Sundance-premiered crime-drama “Emily the Criminal.”

THR’s Scott Feinberg has decided to abandon the “Everything Everywhere All At Once” ship as his #1 pick for the Best Picture Oscar winner. He’s swapped it for “Top Gun: Maverick” in the top slot.

While Steven Spielberg depicts his encounter with John Ford in “The Fabelmans,” one filmmaker he failed to meet was Alfred Hitchcock.

In early November, I wrote about Greta Gerwig potentially directing two adaptations of CS Lewis’ “Narnia” for Netflix. It felt like a strange fit for Gerwig, but then again so was “Barbie.”

Can you celebrate Roman Polanski’s films with knowledge of his controversial past? A German outlet asked French director Francois Ozon that very question and others in an interview about “cancel culture.”

One look at Netflix’s 2023 lineup of films, I had to scroll through an innumerable amount of movies that looked just plain BAD, and I noticed that they have somewhat cut back on the big name directors for next year’s slate.