He has covered everything from Marvel to the Oscars, and Marvel at the Oscars. He also writes obsessively about the box office, charting the many hits and misses that are released weekly, and how their commercial performance shapes public perception. In his time at Collider, he has also helped drive diversity by writing stories about the multiple Indian film industries, with a goal of introducing audiences to a whole new world of cinema.
Russell Crowe fans, young and old, are going to be disappointed this month if they’re subscribed to Netflix’s ad-supported tier. The streamer has blocked two of Crowe’s most recent movies, mainly because it isn’t allowed to monetize certain titles via ads. Both movies were distributed theatrically by Sony — the studio has licensed its movies to Netflix in a lucrative multi-year deal. Crowe’s two films are among the 59 titles blocked this month for subscribers to Netflix’s ad-supported tier, according to What’s On Netflix. The first is Kraven the Hunter, the superhero bomb that grossed only half of its reported $120 million budget worldwide and received a poor 15% score on the aggregator website Rotten Tomatoes.
The other is a period drama that rode a wave of positive word-of-mouth to gross more than $50 million at the box office and followed it up with a stellar run on the PVOD market. The movie in question was targeted at older audiences and focused on the trial of Nazi war criminal Hermann Göring, played by Crowe. It also featured Rami Malek, John Slattery, Michael Shannon, Richard E. Grant, and Leo Woodall in supporting roles. The film was written and directed by James Vanderbilt in something of a creative departure from the norm.
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
While Vanderbilt broke out with the screenplay for David Fincher’s Zodiac, his more recent work includes the **Scream **movies, The Amazing Spider-Man and its sequel, and Guy Ritchie’s Fountain of Youth. The movie we’re talking about is Nuremberg, which opened theatrically in 2025 and grossed approximately $55 million worldwide against a reported budget of $10 million. The movie received mostly favorable reviews from critics, but was widely embraced by viewers. It holds a 71% critics’ score and a “Verified Hot” 95% audience score on the aggregator website Rotten Tomatoes, where the consensus reads, “Driven by a commanding performance from Russell Crowe, Nuremberg is a handsomely crafted historical drama, but its measured pacing and emotional restraint keep it from fully realizing the complexity of its subject.” Popular as the movie is among audiences, those who are still subscribed to Netflix’s cheapest plan won’t be able to access it. Stay tuned to Collider for more updates.
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James Vanderbilt
James Vanderbilt, Jack El-Hai
István Major, Richard Saperstein, William Sherak, Bradley J. Fischer, Paul Neinstein
American psychiatrist Douglas Kelley arrives at the Nuremberg Trials, tasked with evaluating Nazi officials’ mental fitness. His process soon evolves into a sharp psychological duel with Hermann Göring.