Aidan Bryant is a journalist for Collider, specializing in film and entertainment. With a keen eye for analysis and critique, Aidan explores the world of movies, delving into everything from classic films to contemporary releases. Their articles offer unique insights and perspectives on the industry, highlighting hidden gems, iconic moments, and thought-provoking themes.
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Aidan's articles cover a wide range of entertainment themes, particularly focusing on film-making and cinema. His work includes reviews, industry-specific insights, expert commentary, and investment analysis related to the movie industry.
Considering Aidan’s diverse coverage including film-making, specific movies such as 'Oldboy' and 'The Birdcage', it seems he would be interested in pitches offering unique perspectives or behind-the-scenes information about iconic films or filmmakers. This could include exclusive interviews with industry insiders who have worked on notable projects or can provide valuable context about their production.
Aidan does not specify a geographic focus but appears to take an international view of the film industry. Therefore, relevant pitches should consider global appeal rather than being tied to any specific region unless explicitly stated in his writing preferences.
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By: Aidan Bryant
We almost got a very different version of this classic.
Park Chan-wook's masterpiece Oldboy isn't anything like the revenge movies you're used to — and that's a good thing.
At a per-second rate, this '90s classic remains one of the genre's most destructive movies.
The Blind Side is the latest in a series of "based on a true story" movies and shows to cause controversy. Is the whole genre just for exploitation?
Matt Groening’s greatest achievement.
Before mockumentaries were in vogue, Albert Brooks hit one out of the park with this 1979 comedy.
Music video director Hype Williams has made only one feature film in his career — 1998's Belly. We wish he'd done more.
By: Aidan Bryant
This unmade film remains a big miss for cinema.
Robert De Niro and Martin Scorsese have made ten films together, but one of their collaborations led to one of Scorsese's most horrifying characters.
The film does have a left wing undercurrent — if you take left wing to mean "people should be able to afford to not live."
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