Michel Aller

Michel Aller’s editing fingerprints are all over some seriously wild rides in recent cinema. If you’ve ever sat through Shazam! Fury of the Gods and thought, “Dang, this thing MOVES,” yeah, that’s Michel’s handiwork. The guy isn’t just slicing scenes together; he’s fueling the chaos, especially in those moments where superheroes are flying through Philly like it’s just another Tuesday. It’s not just about the action though—there’s this knack for timing, flipping from laugh-out-loud bits to those quick punches of emotion, and somehow it all lands. Jump to Scream (2022), and the vibe shifts hard. This isn’t comic book mayhem anymore; it’s tension, dread, and jump scares timed so well it’s like Michel’s got a sixth sense for when you’re about to blink. The pacing is tight, the cuts are sharp, and you’re never really allowed to get too comfy before the next twist yanks the rug out. Then, back in 2019, he helped make the first Shazam! feel so breezy and fun, even with all the bonkers superhero antics. The editing just zips along, making the whole thing feel light on its feet while still packing in loads of character and heart. You can tell Aller’s not about flashy tricks for the sake of it—he’s all about keeping the story pulsing, no matter if it’s spandex brawls or a masked killer lurking in the shadows. Honestly, if you’re watching one of these flicks and don’t notice the editing? That’s probably the biggest compliment you could give him.