About Bruno Savil de Jong
Bruno Savill De Jong is a freelance writer and cultural critic living in London, UK. He has written for sites including Comics Bookcase, The Best War Games, Outtake and more. A graduate from the University of Edinburgh, Bruno likes obsessively trying to show comics to arty people, and art-house films to nerds.
Latest
Yes, The Original King Kong From 1933 Still Holds Up
King Kong is a cinematic icon who will appear again in Godzilla vs. Kong. But how does the big ape's original 1933 film debut hold up?
Gal Gadot Trying Taco Bell Is A Nod To Wonder Woman's Time In Customer Service
A promo for Wonder Woman 1984 inadvertently touched upon an obscure moment in the Amazon Princess' career, working at the DC equivalent of Taco Bell.
How Wonder Woman 1984 Introduces An Iconic Part Of The Hero's Arsenal
The new DCEU film introduced this classic piece of Wonder Woman iconography, but how does it differ from the many origins in the source material?
Soul: How Pixar's Imaginary Worlds Create Meaningful Stories
Soul, on Disney+, is another Pixar film that constructs an extraordinary world to explain abstract ideas, but how do these inform their storytelling?
Films That Were a Nightmare to Make
Celebrate Halloween by looking over films whose nightmarish productions and dangerous conditions make them appear cursed
What You Need to Know Before Watching WandaVision
With 'WandaVision' the next MCU project, their relationship has been steadily growing between the margins of the main franchise films
Before The Crown, There Was The Queen
Sneak a peak at how The Crown creator, Peter Morgan, already portrayed the death of Princess Diana in this 2006 Oscar-winning drama.
The Stardust Trailer and the Problem With Music Biopics
Famous musicians are a favorite subject of biopcis, but Stardust, about David Bowie, exposes the failings of the entire sub-genre's formula.
Legally Blonde, Clueless and Re-evaluating the 'Dumb Blonde'
Both these films follow blonde valley-girls involved in the law, and they prove how female-centric films don't get the recognition they deserve.