Say it quietly, but Christmas is fast approaching. Aside from the usual problems of finding the ideal gifts for your loved ones, deciding on a colour scheme for your tree, and making sure you have enough snacks to last through the festive period, the one issue that has plagued cinephiles for generations is picking the perfect Christmas movie for this most wonderful time of the year.

Many of the best holiday movies are so obviously steeped in Christmas cheer, snow, and tinsel that it’s almost too on the nose at times. But there are some films that don’t quite fit the stereotypical box. Questions have been asked about Die Hard. No one is quite sure about The Nightmare Before Christmas. And now, we’re pondering whether Gremlins is a true Christmas movie.

The iconic fantasy classic from Joe Dante has charmed audiences for the last 40 years thanks to its blend of family fun, cute creatures, and flashes of horror. But is it really in keeping with the festive spirit? According to British audiences, there’s a definitive answer.

UK Audiences Love Watching Gremlins at Christmas

The answer to this question is usually subjective, but here at JustWatch, we have quantifiable data to turn to.

As you may have expected, Gremlins climbs our Most Rewatched and Most Anticipated charts leading up to Christmas. This happens across Europe and in the US, which suggests that these territories do regard Gremlins as a Christmas movie.

But it’s in the UK that the most definitive verdict arises. You see, only in the UK does Gremlins crack the top 25 on those charts around the festive season (as high as number 24, actually), which proves once and for all that British audiences are on the right side of history with this particular debate.

Gremlins Is Obviously a Christmas Movie

To be honest, I don’t see where the confusion is with this one. Of course, Gremlins is a Christmas movie!

Think about all the main ingredients we look for in a Christmas movie: the story has to take place at Christmas; it needs snow and bright lights; it should be full of cheer, gifts, and celebration, and, of course, it helps to explore themes of family, belonging, and kindness.

Sometimes it’s enough for a film to just hone in on one of these elements enough. With Gremlins, Joe Dante ticked every single box. The entire movie revolves around Christmas and the very problematic gift a father gives to his son. There’s snow, Santa hats, carol singing; it’s a film full of charm and heart, and at the core of it all, love, as this family bands together to save the day.

Frankly, the idea of Gremlins being anything other than a Christmas movie is ludicrous. Whether Dante intended it or not, he created the quintessential quirky Christmas flick.

Why Gremlins 2: The New Batch Is The Perfect Film For New Year's

On the other hand, if you’re hastily planning your Christmas viewing schedule and think following the original up with Gremlins 2: The New Batch is a good idea, I implore you to pause for a moment. Don’t worry, though, you only have to wait a week before it’s prime time to watch the sequel.

While Gremlins 2 is not necessarily about New Year celebrations, it is a brilliant choice to bring in the turn of the year. Not only is it a movie brimming with Y2K aesthetics and chaotic parties, but we also get a scene where a bunch of intoxicated gremlins perform a rendition of ‘New York, New York’ at the stroke of midnight.

Gremlins fans have even taken to starting the movie on New Year’s Eve (at 10:32 pm, to be precise) so that Brain Gremlin’s musical number kicks off just as our own clocks hit 12. So, whatever you plan for the holidays this year, make sure you find room for Joe Dante’s delightful double bill.

It’s time, once more, to hold space for Wicked, as the Oz-set sequel For Good flies into cinemas a year after Part One. IRL BFFs Cynthia Erivo and Ariana Grande are back as Elpheba and Glinda, the so-called Wicked Witch of the West and Good Witch (of a non-disclosed direction), along with the rest of the main cast, including Michelle Yeoh as Madam Morrible and Jeff Goldblum as the Wizard, who, by the end of the first film, declared Elpheba public enemy number one, having already scapegoated Oz’s talking animals as similar pariahs.

Sadly, as is so often the case with prequels, there’s only so much Elphepha can do to try and escape this public perception and her prewritten fate – to be melted by a doe-eyed, Kansas teenager with a bucket of water on the orders of a charlatan. But Wicked: For Good has a twist ending that gives Elpheba a more hopeful and mysterious fate. Let’s unpack what happens and why.    

What Happens to Elpheba In Wicked: For Good

Wicked: For Good picks up some time after Elpheba steals the Grimmerie, a book of spells that only she can read, from the Wizard’s castle in the Emerald City. Having refused to help the Wizard and Madame Morrible use its magic to subjugate Oz, she becomes a lone freedom fighter seeking to expose the Wizard as a fraud. 

Glinda, meanwhile, dejectedly becomes the poster child for ‘good’ despite a lack of tangible powers, with Morrible’s propaganda establishing a dichotomy between her and Elpheba – one a hero of the people and the other something for them to unite against. She also gets engaged to Prince Fiyero, played by a frosted-tipped Jonathan Bailey – a move that’s also a PR stunt, even though Glinda’s feelings for him are real.

This culminates in a confrontation at the Wizard’s castle, where Elpheba implores him to tell the people of Oz that he’s been manipulating them. With the help of Glinda, he instead brokers a truce with her. However, as Glinda and Fiyero prepare to wed, Elpheba discovers the Wizard has been imprisoning the animals. Enraged, she frees and unleashes them on him, ruining the wedding, and giving Fiyero the impetus to leave with her.

This moment of respite is short-lived, however, when Dorothy crash-lands in Oz, thanks to a vengeful tornado conjured by Morrible. Fiyero is captured by the Emerald Guard and tortured in an effort to reveal Elpheba’s base of operations (her Western castle). Desperate to spare him, she transforms him into the Scarecrow, and embraces her characterisation as ‘wicked’, meeting with Glinda one last time to encourage her to also truly be good, before facing her untimely demise at the hands of Dorothy.

How Elpheba Cheats Death In Wicked (Without Changing The Wizard of Oz)

As fans of the original book and musical will already know, the Wicked Witch of the West isn’t actually killed when Dorothy chucks a bucket of water over her. Wicked teases this key weakness long before this happens at the climax of For Good – when Morrible shields Elpheba from the rain in Part One, for instance. But after Dorothy triumphantly takes her broomstick, as proof of her death, to the Wizard, and Glinda, who witnessed the whole thing from a hiding place, tearfully returns to take up her goodly duties in the Emerald City, we return to the Wicked Witch’s castle.

Fiyero, in scarecrow form, opens a hidden trap door, revealing Elpheba slipped through it to fake her death. It seems the whole water thing was just a myth all along, propaganda that Elpheba used to her advantage in the end. Having chosen to martyr herself for the sake of maintaining the new equilibrium, she leaves Oz altogether with Fiyero. They’re last seen journeying through a mysterious desert that exists outside of it.  

What Is the ‘Deadly Desert’?

Also known as the ‘impasable desert’, the ‘deadly desert’ that Elpheba and Fiyero end up in comes from L. Frank Baum’s original Oz books, the lore of which many of the adaptations only really scratch the surface of. In Wicked, the desert’s existence is established in the first act of For Good when Elpheba sees the animals fleeing persecution through a tunnel to it. 

This desert surrounds the land of Oz, and as the name implies, it can be lethal for anyone passing through it. As per the Oz novels: "Any living thing that touches it turns to sand." In the 1939 movie, Oz is one big fever dream in Dorothy’s head. However, in Baum’s lore, Oz is real and exists in our world – the desert not only makes it difficult for anyone to leave Oz, but for anyone on the outside to wander in. That’s why outsiders like Dorothy and the Wizard can only get there via air travel. (Baum published the first Oz book in 1900, just before the invention of planes, so he wouldn’t have considered the implications of random commercial flights drifting into Ozian airspace every day…) 

Why Wicked Had to (Partially) Change The Wizard of Oz’s Ending

The more Wicked: For Good overlaps with The Wizard of Oz, the more hoops it has to jump through to both preserve the beloved film’s central story while keeping its own narrative interesting – and the payoff satisfying.

Elpheba has to be ‘killed’ by Dorothy to uphold the core canon, but that’s a pretty downer ending after we’ve spent around four hours across two movies sympathising with and rooting for her. Tragedy isn’t out of place for major stage musicals, like Les Misérables and The Phantom of the Opera, but in this case, Elpheba dying for real may have been both too bleak and too predictable. By having her fake her death and leave Oz, the original Wizard of Oz ending remains intact, and Wicked can deliver one final surprise to audiences.

It also allows Elpheba to finally take control of the narrative. Wicked is a big, shiny musical that looks sweet on its surface, but has a more sobering message about propaganda, fear, and control barely concealed underneath. Elphaba is mischaracterised to the public throughout the films as an evil force that must be purged. In the end, if she’d died for real, it would have looked like she gave up, closing things out on a note of hopelessness. By orchestrating her own demise and selflessly choosing her fate, Elpheba instead regains her autonomy and leaves Oz in a better, more equitable state. 

Forty years ago, The Goonies was released in theatres and, in some ways, we’re still feeling the reverberations. If you’d told a punter at the time that the Richard Donner-directed, Stephen Spielberg-produced movie would still be inspiring the biggest and most expensive TV shows of the 2020s, they’d probably have told you to shuffle your truffle.

In our nostalgia-driven culture, it’s still a Goonies world, and we’re all just living in it; and something similar could be said for the movie’s stars, who have been lighting up our screens in a wide variety of places since 1985, and for the most part continue to do so. If you’d gone on to tell our imaginary friend that four of the original Goonies would eventually be nominated for Oscars, one of them even going so far as to win, they’d have probably passed out.

Whatever the case, it’s always a great time to revisit Donner’s classic—not least with Stranger Things on the verge of its long-awaited finale and Spielberg’s return to science fiction and wonder looking quite imminent next year. Read on to discover more, and use the guide below to discover what the cast of The Goonies have been up to in the years since. 

Josh Brolin

When it comes to tallying up the achievements of the Goonies cast in the last 40 years, nobody comes close to Josh Brolin. That movie was the actor’s big screen debut, and since then, he’s gone on to become an A-list star and something of an all-American treasure. 

Aside from one Paul Verhoeven movie, the ‘90s and early ‘00s were a bit of a bust, but something happened around 2007 that changed the course of the actor’s career. All of a sudden, he found himself in Robert Rodriguez’s Planet Terror, Ridley Scott’s American Gangster and the Coen brothers’ No Country for Old Men—the last of which earned him a nomination for Best Actor at the Academy Awards. A decade later, as Thanos, Brolin arguably played the lead role in two of the most successful movies ever made.

In 2025 alone, Brolin has added three acclaimed movies to his cluttering CV: Wake Up Dead Man, Weapons and The Running Man. Look out for him next year in Dune: Part Three. 

One to watch: If you like Fargo, try No Country for Old Men.

Sean Astin

Looking at Sean Astin’s post-Goonies work, three credits rise above the others like Barad-dûr—and there’s absolutely no shame in that. Peter Jackson’s Lord of the Rings trilogy, in which Astin delivered a performance as warm as a Hobbiton stew, are by some metric the most universally beloved movies of the 21st century so far.

Before Middle Earth, Astin enjoyed an otherwise steady post-Goonies career, picking up roles in quality movies like The War of the Roses, Toy Soldiers and Rudy and, in the years since, has leaned into his celebrity with roles in The Big Bang Theory and even a recurring run as Bob Newby on Stranger Things.

One to watch: If you like fantasy, jump in with The Lord of the Rings: The Fellowship of the Ring.

Martha Plimpton

Since her performance as Andi’s best friend, Stef, in The Goonies, Martha Plimpton (surprisingly, unlike her co-star Kerri Green) has gone on to be a consistent, reassuring presence across American movies and television. On the big screen, she appeared in ‘80s classics like Parenthood and Running on Empty before pivoting into grittier work in recent years with critically acclaimed movies like Small Town Murder Songs and the recent festival hit Sovereign, with Nick Offerman.

Plimpton has also guest-starred on several long-running shows in that time, like The Good Wife, and now appears to be making a long-overdue jump to prestige TV. Her performance in Task this year, opposite Mark Ruffalo, was incredible, and fans will get to see her again next year in Zoe Kazan’s hotly anticipated adaptation of East of Eden—the first major spin on that novel since Kazan’s grandfather, Elia, directed James Dean to a debut Oscar nomination in 1955.

One to watch: If you like what Brad Ingelsby did with Mare of Easttown, you’ll love Task.

Ke Huy Quan

If you asked viewers in 1985 what Goonies cast member would be the first to win an acting Oscar, and when? Few would have guessed it would take 37 years, and fewer still would have guessed it would go to Ke Huy Quan.

With his open expressions and adorable energy, Quan quickly established himself as one of the most cherished child actors of the 1980s (he’d starred in Indiana Jones and the Temple of Doom a year before). It would be decades, however, before Hollywood saw him as a mature actor, thanks to the Daniels’ Everything Everywhere All at Once, a movie that won him a heartwarming Oscar for Best Supporting Actor and basically reignited his career. Since then, Quan has appeared in the MCU, the Russo Brothers’ Electric State and starred in his own action movie, Love Hurts. 

One to watch: If you like your multiverses extra crazy, it has to be Everything Everywhere All at Once.

Joe Pantoliano

By 1985, Joe Pantoliano had already appeared in movies as big as Risky Business, but his performance as Francis Fratelli in The Goonies solidified his place as one of Hollywood’s go-to sleazebags. In the decades that followed, Pantoliano would bring that energy to everything from The Fugitive to Memento, to Steven Spielberg’s Empire of the Sun and, as Captain Howerd, to four Bad Boys movies—and counting.

When I think of Pantoliano, however, I usually think of two roles: as the backstabbing Cypher in The Matrix and, better yet, as Ralph Cifaretto in three seasons of The Sopranos.

One to watch: If you’ve got the time, start The Sopranos. If not, put on The Matrix.

Corey Feldman

Having already appeared in Gremlins and two Friday the 13th movies, Corey Feldman was (at least aside from Quan) probably the closest thing to an established child star in the Goonies cast before the movie’s release. In the years that followed, he became synonymous with ‘80s cinema—consistently picking up the coolest roles in films like Stand by Me, The Lost Boys and, my personal favourite, The Burbs.

The following years were less kind to the actor—a classic case of an industry chewing up a young star and spitting them back out. In 2020, he went on the record with his experiences from that time in the tell-all documentary (My) Truth.

One to watch: If you like Hanks in pure ‘80s mode, it’s gotta be The Burbs.

Anne Ramsay

A little like Feldman, Anne Ramsay is one of those faces that seems to only exist in the 1980s—at least as far as movie fans of that era are concerned. 

Born in 1929, the actress best known for playing Mama Fratelli only started acting in the early 1970s, but her career enjoyed a late-flourish in the years after The Goonies. In 1988, she even earned a surprise nomination for Best Supporting Actress at the Oscars for the Danny Devito/Billy Crystal buddy comedy, Throw Momma from the Train, but sadly passed away just a few months after the ceremony, which she attended. She appeared posthumously in Scrooged that November—and unsurprisingly, that movie is dedicated to her. 

One to watch: If it’s December, go Scrooged.

Lupe Ontiveros

You might not know the name, but since playing Rosalita in The Goonies, Lupe Ontiveros went on to have one of the most lively careers of any cast member. When she passed away in 2012, at the untimely age of 69, her IMDb had already reached a formidable 111 credits. Given the options for Latinx actors during that time, it’s probably no surprise that she was often typecast, but that didn’t stop her from making her mark on movies like As Good as it Gets and shows like Desperate Housewives, the latter of which earned her an Emmy nomination for Best Guest Actress in a Comedy Series. 

One to watch: Certain parts of As Good as it Gets haven’t aged the best, but it’s still well worth seeing.

Robert Davi

Robert Davi started in TV before landing the part of Jake Fratelli in The Goonies, a role that would basically influence the rest of his career. In the decades that followed, Davis went on to play admirably meat-headed bad guys in everything from Predator 2 and License to Kill to Paul Verhoeven’s misunderstood classic, Showgirls.

The latter of those earned him a Razzies nomination, which he lost to Dennis Hopper for the equally undervalued Waterworld—what a year! If you know Davi from anything, however, it’s probably for playing the taller of the two Special Agent Johnsons in Die Hard. 

One to watch: Definitely Die Hard.

John Matuszak

John Matuszak is one of the few Goonies cast members who came into the movie at the end of his career. Before putting on the prosthetics to play Sloth, Matuszak had already won two Super Bowls during a decade-long career in the NFL. Outside of The Goonies, he appeared in ‘80s movies like North Dallas Forty and One Crazy Summer before his tragic death in 1989, when he was still just 38 years old.

One to watch: I can’t claim to have seen any, but North Dallas Forty has Nick Nolte in it, so it seems like as good a place as any to start.

Guillermo Del Toro is a master of gothic horror and a lover of monsters. And I mean that last bit in every sense of the word: the highly distinctive filmmaker has talked often and lovingly of his affection for villainised creatures, whether they’ve crawled out of a black lagoon or out of the deep, dark woods. His filmography, from Hollywood superheroes to period horror, consistently makes us empathise with traditional figures of dread. And sometimes, he even asks us to find them desirable.

Shape of Water is Del Toro’s most notable creature-loving feature, and the first major Oscar-winner (I think) to feature inter-species, underwater copulation. But with his latest masterpiece, Frankenstein, starring a tall, dark, and brooding Jacob Elordi as the ‘Creature’, who woos Mia Goth’s Elizabeth, Del Toro has truly proven himself as the patron saint of monster lovers. (Dare I say, monster smashers..?)

It’s about time we looked back at the Del Toro Hot Monster canon (fuelled almost singlehandedly by the lithe creature actor Doug Jones), and shallowly but very seriously rank them by how romanceable they are — and how much or little reputational damage you’d do by stepping out in public with them. Just remember, like Victor, we’re doing this purely for science.

Honourable Mention: Sir Thomas Sharpe — Crimson Peak (2015)

First, a shout-out to the incestuous wife trap that is Tom Hiddleston, aka Sir Thomas Sharpe, in Del Toro’s lavish Victorian ghost story. 

He’s tall, he’s handsome, he’s trouble, and he gets his butt out on screen. He also winds up (spoilers) as a ghost, which sort of qualifies him as a ‘monster’ — motives aside — but not quite enough for a proper spot on this list.

Dishonourable Mention: The Strigoi — The Strain (2014-2017)

No. Just no.

5. The Kaiju Hive Mind — Pacific Rim Uprising (2018)

As open-minded as I am, I’m not sure I would have included this one had it not been for Charlie Day. And I tend to base many of my editorial and life decisions around the voice of Luigi and the man who co-created Fight Milk. Like a weird Japanese dating sim, Day’s eccentric scientist in Uprising decided that yes, anything in Del Toro’s ‘bots battling monsters franchise could be romanceable, including a barely biological interconnected consciousness.

If you don’t know what I’m talking about, it’s kind of like the movie Her, but instead of an Alexa girlfriend voiced by Scarlet Johansson, it’s a brain in a jar. As a weirdo who cackled her way through The Substance and the slurpy feeding scenes of Nosferatu, I absolutely love that this film went there with this bonkers subplot, especially for a big, shiny action movie that kids might see. It’s a soft ‘maybe’ for the come-hither voice and the freakiness, but a hard no for the mind control. What can I say, I’m one of Destiny’s Child’s Independent Women.

4. Pale Man — Pan’s Labyrinth (2006)

Pale Man (Eye Guy, as I like to call him) is one of Del Toro’s creepiest and most iconic, original creations. He has eyes on the palms of his hands, a head full of teeth, and the consumption of children on his mind. Let me convince you why he’s boyfriend material.

One: Seen and not heard; good listener. Two: Table manners. Underrated in this day and age. Three: If you want a childless life, so does he. Think of all the money you’ll both save! Four: Snatched. Just look at that waist. Five: He only has eyes for you. As a reminder, those eyes are on his palms, and he only gets them out for special occasions.

Could you take him home to meet the folks? I don’t know if you could take him anywhere, really, mostly because if I’m interpreting the film correctly, I’m not entirely sure he actually exists. A small but not unworkable drawback.

3. Amphibian Man — The Shape of Water (2017)

The Shape of Water, in which Sally Hawkins gets freaky with Del Toro’s version of the Creature From The Black Lagoon, and Del Toro got his unexpected Best Picture Oscar. Love wins!

Amphibian Man is your classic mer-person fantasy, but for those who aren’t cowards. If you think Ariel is the only acceptable mermaid crush, you’re not ready for this slimy, sexy, forbidden romance, or Michael Shannon as a spitting, fascist Gaston. You’re not going to get much conversation out of a literal fish guy, unless you know sign language, and he’s useless on land. But if you’re willing to put up with permanently pruned fingers and attracting angry mobs, you’ll net yourself a mate for life.

2. The Creature — Frankenstein (2025)

Let’s be frank(enstein) here, Del Toro just painted Aussie heartthrob Jacob Elordi white, put a wig on him, and called it a day.

I’m being facetious, here — the makeup, hair and costuming in Frankenstein is outstanding, but Elordi’s deathly Byronic beauty is a far cry from Boris Karloff’s Exorcist vomit skin and square bolted head. This is a reanimated corpse with a porcelain complexion, eight feet tall (no, I won’t fact-check that), and the passion to hunt his creator to the ends of the earth to poetically tongue whip him. You have to love a man with ambition who wears his heart on his sleeve — even if that heart is from someone else.

Once you give him a thesaurus, he’d be great dinner conversation, though I’m not against cries of ‘VICTOR!’ being our personal love language. The scarring and what I suspect would be a bit of a foul smell from various rotting wounds may raise some eyebrows, but nothing some foundation, aftershave, and accusing people of ableism won’t fix.

1. Hellboy — Hellboy (2004) & Hellboy II (2008)

Ron Perlman. David Harbour. The other guy from The Crooked Man. When we talk about Hellboy, we’re talking about the Daddiest antihero, out-Daddied only by Josh Brolin as Thanos. And Josh Brolin as Cable. Josh Brolin as anything.

Sticking to the Del Toro-Perlman incarnation, as per this list, which made the comic book character mainstream, this is the easiest sell on the monster lover scale. Sure, he’s like a demonic, bipedal Clifford the Big Red Dog, and it’d be hard to introduce him to your god-fearing granny without inducing cardiac arrest. But he’s also half-human with cheesegrater abs and an IDGAF attitude that he can actually pull off on account of being satanic spawn. We all love a bad boy, and we love a bad boy who’s really a good boy even more.

The only catch for me is that cigar breath. But I think if we made things official, a switch to vapes wouldn’t be out of the question. Cherry, please!

From book, to stage, to the silver screen, we’re all obsessulated with the journey of Elphaba and Glinda. It’s not surprising Wicked was one of the most pop-u-lar movies of 2024, and the sequel, Wicked: For Good is now dominating the cinematic lexicon.

Obviously, Cynthia Erivo’s Elphaba is the star of the show, as much as Ariana Grande’s Glinda likes to make it all about her. The two characters have a fascinating dynamic, but what goes on around them is what truly shapes Elphaba into the iconic ‘villain’ we ultimately know her to be: Her unusual abilities and green complexion make her an easy target for the students at Shiz University, and also lead to her being manipulated by Madame Morrible and the Wizard to be the face of their, well, wicked plans.

There is no denying Elphaba is a tragic character. It’s what makes her so interesting and compelling, but there’s another character in Wicked who has a far tougher time – and yet, she flies under the radar.

Spoiler warning: If you haven’t seen Wicked: For Good yet, we are going to discuss some pretty key plot points here!

What Happens to Nessarose, Elphaba's Sister, In Wicked

Let’s talk about Elphaba’s sister, Nessarose. Admittedly, she doesn’t get bullied by her peers, largely because she’s not green. That helps her have a much lower profile than Elphaba, but she still plays a key role in the events of Wicked, and none of it is particularly positive.

For a start, she has none of Elphaba’s magical abilities. Obviously, having that talent doesn’t necessarily help Elphaba get ahead in life, but it’s still something Nessarose looks at with envious eyes, feeling like she has been denied something special herself.

Her resentment leads to Nessarose joining forces with the Wizard, rather naively, to become governor of Munchkinland. While in that role, Nessarose rules with cruelty and becomes obsessed with control and power.

On top of that, Nessarose falls in love with the Munchkin Boq, and it doesn’t end well. For her, it’s a case of unrequited love, as Boq only pretends to like her so he can get closer to the true object of his desires: Glinda. When she learns the truth, Nessarose turns to magic to try and change Boq’s mind and win his heart. The spell goes wrong, Boq ends up with no heart at all, and has to be saved by Elphaba by turning him into the Tin Man – not the ideal way for a love story to pan out really, is it?

Wicked Makes Nessarose's Downfall Even More Complex

If all of this wasn’t enough, Nessarose’s situation is even more complex and difficult because of her disability. With her mother terrified of having another green child, she eats milk flowers during pregnancy. This leads to complications in Nessarose’s birth and means she needs a wheelchair.

In the original novel, Nessarose is described as having no arms. In the musical, this is altered to be a disability in her legs, more like what we see in the movie. Interestingly, the depiction of Nessarose in the Wicked movies, where she is played by Marissa Bode, is the first time a disabled actor has taken on the role. This is clearly positive for authentic representation, and while being disabled needn’t be something that carries negative connotations by default, the story’s colouring of Nessarose’s situation, unfortunately, is.

Wicked treats it as yet another cruel element of Nessarose’s downfall, as her disability actively motivates her to do the things she does out of bitterness for Elphaba. It also blights that authentic representation as the only visibly prominent disabled character is totally mired in disaster. And the tragedy doesn’t even end there.

Nessarose's Fate In The Wizard of Oz Is Even Worse Because of Wicked

For anyone well-versed in the overarching story of The Wizard of Oz, we know Elphaba goes on to revel in the title of the Wicked Witch of the West. While her malevolent turn is a huge part of the reason why the 1939 classic is one of the best musicals of all time, people often forget about Nessarose’s fate.

Admittedly, she isn’t in the film for long. When Dorothy’s house lands in Munchkinland, she inadvertently crushes the Wicked Witch of the East as she searches desperately for Boq after his horrific transformation. As the Munchkins rejoice the demise of their oppressive leader, we the audience move on and follow Dorothy’s journey along the yellow brick road.

But, behind the celebrations, we should remember that it is Nessarose Thropp under that house, a character we’ve gotten to know and sympathise with. She may have turned wicked along the way, but she is ultimately just a young woman who was twisted by circumstance and environment. And adding insult to injury, Dorothy even steals her lovely, shiny red shoes! Elpheba suffers, but at least she gets a bittersweet ending as an anti-heroic martyr; Nessarose’s death is a punchline and her legacy squashed with her.

Predator: Badlands has spent November tearing up the global box office. At the moment, the film, which stars Elle Fanning as a legless android alongside newcomer Dimitrius Schuster-Koloamatangi as her unlikely alien hunter companion, is sitting at the top of the franchise food chain on a prize of $160 million. It also had the strongest domestic and global opening in the series’s 40-year history, which is a huge payoff for the gambit 20th Century Studios took in theatrically releasing director Dan Trachtenberg’s Prey follow-up, which went straight to streaming in 2022.

Badlands also takes a big story risk: it’s the first Predator film to feature one of the titular warriors – a species commonly called Yautja – as a protagonist. In this case, Schuster-Koloamatangi’s Dek. Branded a ‘runt’ by his father, Dek escapes execution at the patriarch’s hands by crash-landing on the hostile planet Genna. There, he vows to prove himself a worthy hunter by slaying a fabled, unkillable beast called the Kalisk. This is where he runs into and begrudgingly teams up with Fanning’s Thia, a broken Weyland-Yutani synthetic from the Alien universe sent to Genna for reasons that become clearer as the film goes on. 

This marks the first proper crossover (on film) between the Predator and Alien franchises since 2007’s Alien vs Predator: Requiem, and if you’ve had the unfortunate experience, like I have, of watching that mangled mash-up, you’ll know why. I’m happy to report that Badlands is worlds away from that low point – balancing high stakes, action-packed fun with dynamic characters and wonderfully fleshed-out worldbuilding. Its success hammers home the undeniable fact that fans of both Predator and Alien are eating well these days: Trachenberg’s Prey, Badlands, and animated offshoot Killers of Killers were critical and commercial successes for the former, and Romulus and Alien Earth have been equally well-received for the latter.  

The absence of the Xenomorph stops Badlands from being the unofficial third AVP film, but the strong Weyland-Yutani presence makes the sci-fi properties even more intertwined. The sinister corporation’s activities on Genna could also inadvertently tell us a lot about what to expect from the future of Alien.

Predator: Badlands’ Ending, Explained

Dek and Thia team up to help each other achieve simple goals: Dek wants to kill the Kalisk, and Thia wants to recover her legs, which were severed by the creature. She also wants to find her ‘sister’ synthetic, Tessa, who is also played by Fanning. Unlike Thia’s perky curiosity, Tessa is a ruthless company woman, which eventually puts the twin androids on an ideological collision course when Tessa captures Dek, as well as the deadly Kalisk.

In a Weyland-Yutani mobile lab where Dek is held and experimented on, a conversation between Tessa and Thia reveals that their models have been programmed to feel empathy – a skill the company enabled to make them better understand the creatures they’ve been tasked with capturing. But Tessa determines that Thia’s attachment to Dek means she’s become defective and must be deactivated.

This betrayal solidifies Thia’s newfound allegiance with Dek, whose species is socially conditioned to be lone wolves. This is the narrative irony in his dynamic with Thia – she’s an artificial being programmed to feel too much; he’s an organic being programmed to feel too little.

Naturally, Dek’s character arc turns everything he’s been taught about what makes a ‘worthy’ Yauntja on its head. After Thia helps him escape capture, he utilises everything he’s learned about Genna and enlists alien allies – including Bud, who he realises is the Kalisk’s child – for a rescue mission. Storming the Weyland-Yutani HQ on Genna, he liberates Thia and reunites Bud with its parent. Sadly, their reunion is short-lived: Tessa destroys the Kalisk with cryoweapons she looted from Dek’s ship. She takes aim at Thia next, only for Dek and Bud to finally put her down.

The trio eventually return to Yauntja Prime, where Dek confronts and defeats his father in combat, directing an older, larger Bud to take his head. As the three of them square up to his father’s remaining clan, a huge ship appears, which Dek says is under his mother’s command.    

How Predator: Badlands Could Tie Into Alien Earth - And The Wider Alien Franchise

Those who’ve seen Killer of Killers may have put the pieces together - that Dek’s mother is very likely the fierce, villainous matriarch whom a band of time-displaced human warriors fought in that handsomely animated film. While not directly linked to one another, Trachenberg’s trilogy of Predator films can easily be connected by way of the Yauntja’s time-travelling technology. But what about their link to the most recent piece of Alien media, the TV miniseries Alien Earth?

While they were released close together and Alien and Predator clearly take place in the same universe – Badlands being the strongest evidence of their interconnectedness yet – Alien Earth never references Predator. And yet, interestingly, Weyland-Yutani has the same M.O. in both Alien Earth and Badlands – capturing intergalactic species and bringing them back to Earth for experimentation. This isn’t unique to the FX show; the capitalist empire has been instructing its synthetics to bag Xenomorphs since the first Alien film, but across Alien Earth and now Badlands, it’s clear this mission has been supercharged and become far-reaching. 

As both franchises ’ universes widen to include more and more weird and horrifying creatures, so does Weyland-Yutani’s appetite to have them under lock and key. Why? Probably the usual evil stuff, like power and money, but there are also scientific breakthroughs. A common thread among Alien’s egomanical human scientists and CEOs, from co-founder Charles Bishop Weyland to upstart company Prodigy’s Boy “Genius” Kavalier, is the pursuit of human immortality. On paper, it’s pitched as curing diseases and ageing, but in reality, it’s about achieving a state of godhood. Badlands’ Kalisk is hard to kill because it has incredible regenerative properties. That ability would be a huge boon to either company in pursuing that lofty goal, and certainly more useful than the Xenomorph’s acid blood and double-head situation.

So, while Badlands and Alien Earth don’t explicitly reference each other, they both reinforce Weyland-Yutani’s relentless interstellar goal, and put these governmental conglomerates front and centre in Alien’s growing mythos. Which planet will they set their sights on next? My money’s on that bizarre Howard the Duck one.  

It seems like we’re all increasingly obsessed with how much movies make at the box office these days. Obviously, money is not the defining factor to separate good films from bad ones. In fact, some truly amazing films have financially bombed, including Citizen Kane, Fight Club, and The Shawshank Redemption.

COVID-19 and the subsequent global lockdown led to a rise in straight-to-streaming releases and a significant change in the longevity of theatrical movies. Gross box office numbers have plummeted over the last five years, with over $11 billion generated every year from 2015 to 2019. Since an obvious low of $2.1 billion in 2020, this figure has still only risen as high as $8.9 billion in 2023, and dipped again last year to $8.5 billion.

It figures, then, that box office results can make or break a filmmaker’s career and have movie studios second-guessing every decision they make. Ultimately, it feels like no one quite has the magic solution to getting bums in seats at the cinema. Warner Bros. are clearly doing something right, however, as the moviemaking giant has enjoyed hit after hit at the box office in 2025. Let’s discuss how this has happened and why it’s not all cause for celebration just yet.

Warner Bros.’ Hot Streak Is Thanks to Minecraft, Superman, and Other Hits These Properties

As per a report from Variety, Warner Bros. has done something no studio has ever achieved before: having seven consecutive releases with openings of $40 million or more.

Horror hit The Conjuring: Last Rites was the latest in that line of successful drops for Warner Bros. The Patrick Wilson and Vera Farmiga-led flick racked up a whopping $87 million weekend domestically and $187 million globally in its opening weekend. Perhaps that was always to be expected given it’s the fourth instalment in this highly popular series, but this success rounded out a summer filled with smart releases and creative risks for the studio.

It all began in April, when A Minecraft Movie dominated cinemas and popular culture with its silly catchphrases and Jack Black tomfoolery. That $162 million opening remains the biggest win for Warner Bros. in 2025. Obviously, A Minecraft Movie benefited from the immense built-in audience that comes with the territory of a video game adaptation, and it’s exactly the kind of bankable film a studio needs to offset its losses throughout the year.

Elsewhere, Final Destination Bloodlines and Superman continued the trend, bringing in $51.6 million and $125 million, respectively. Both have the advantage of being part of franchises with devoted fanbases. In the case of Superman, perhaps it’s actually more like two fanbases, with James Gunn bringing his MCU admirers over to DC.

One of the more interesting successes, though, is F1: The Movie. While the Joseph Kosinski film was produced by Apple, Warner Bros. won the theatrical rights and bagged itself a sure fire hit that brought in a $57 million opening. With Kosinski at the helm, A-list titan Brad Pitt in the lead, and an exhilarating, fast-paced plot, F1 followed the Top Gun: Maverick blueprint to a tee, and Warner Bros. was wise to get behind such a crowd-pleasing project.

The five movies listed above present calculated pushes from the studio; films that were always likely to deliver box office wins. But what about the other two?

What We Can Learn From the Success of Weapons & Sinners

Ryan Coogler’s Sinners and Zach Cregger’s Weapons could easily have failed. But the horror-thriller hybrids brought in $48 million and $43.5 million respectively in their opening weekends, and they prove that Warner Bros. was more than willing to take big risks this year.

Hiring two of the most exciting filmmakers in Hollywood is always a good foundation for a successful project, but how often do we see that formula fail? You only have to look at films like Damien Chazelle’s First Man or Denis Villeneuve’s Blade Runner 2049 to see that acclaimed directors don’t always deliver guaranteed box office returns.

In allowing Coogler and Cregger to bring fresh spins to classic horror tropes like vampires and witches, Warner Bros. captured the imagination of moviegoers and provided something no other studio could. Let’s not forget, Weapons was such a hotly anticipated movie that Jordan Peele was furious when his company, Monkeypaw Productions, failed to acquire the rights for the film.

Franchise follow-ups, popular adaptations, and huge movie stars are easy wins. But as these numbers prove, putting out original stories is clearly still something audiences crave. That’s great news for the film industry in general, and Warner Bros. will be delighted that its risks paid off. But it may still count for very little in the long run for the studio.

Why Warner Bros.’ Future Is Still Uncertain

The company may have put out an incredible string of cinematic successes and been at the heart of some of 2025’s most brilliant movie characters, but Warner Bros. is still struggling financially. So much so, in fact, that the studio is up for sale.

As per the BBC in October, CEO David Zaslav was considering offers from numerous parties for Warner Bros. He is said to be looking for a way to “unlock the full value” of his and the board’s assets, while a bid from rival studio Paramount has already been rejected.

This comes just three years after Warner Bros. merged with Discovery, but it seems all this success in 2025 has not put the studio any closer to stable ground. We could yet see the company split up its assets to facilitate a sale, but what does that mean for the many iconic titles in the Warner Bros. library?

That repertoire includes the likes of Harry Potter and The Lord of the Rings, two properties that are already being played around with in various adaptations. We know that whatever hands the studio falls into, those franchises will still live and breathe in some way, shape or form. It’s unclear what the future holds for Warner Bros.. One thing is for sure, though: the highly creative, original stories – Sinners and Weapons – that the studio has brought to life in 2025 underpin the kind of bold, winning formula we want and need to see more of in the movie industry.

2025 has been dominated by Huntrix, both in terms of the Netflix and music streaming charts, too. KPop Demon Hunters has proven to be the cultural phenomenon of the year. And rightly so: the anime-inspired hit has a thrilling story, stunning animation, and catchy songs that you just can’t help but play on repeat.

We know a sequel is in the works, though it isn’t due for release in 2029. Until then, there are many movies like KPop Demon Hunters you could watch. That’ll only take you so far, though, so why not delve into the wonderful world of theories as to what the follow-up might deliver, including one that’s been pushed by one of the Saja Boys themselves.

Huntrix’s rivals perform fantastic songs like ‘Soda Pop’ and ‘Your Idol’ in the film, but their affiliation with Gwi-Ma and the demon underworld was obviously problematic for their fans. Thankfully, the Huntrix girls put an end to the Saja Boys and their wicked plans, even if it did mean that their ringleader, Jinu, had to sacrifice himself for the cause. But what about the rest of the group? According to one of their voice actors, we may not have seen the last of one of the chart-topping K-pop idols.

What Happens At The End of KPop Demon Hunters?

You’ve probably rewatched KPop Demon Hunters just as many times as I have – my son is obsessed, and I’m not about to complain, to be honest. So, you’ll obviously recall that, at the end of the movie, we see Rumi embrace her demonic patterns, unite with Mira and Zoey, and stand up to Gwi-Ma.

While the girls take down all of Gwi-Ma’s more feeble minions, battling the Saja Boys is a far tougher task. Zoey faces off against Baby Saja and Mystery Saja while Mira resists the temptations of Abby’s impeccable abs and slices him up real good.

Obviously, Rumi and Jinu are busy defeating Gwi-Ma. By the end, the demon curse appears to be lifted, and everyone can move on happily with their lives – albeit with a bittersweet tinge with Jinu gone. But did we all miss one of the Saja Boys escaping the chaos and surviving to fight another day?

Joel Kim Booster Hints at Romance Saja’s Fate

In an interview with JustWatch, the voice actor behind Romance Saja, Joel Kim Booster, suggested that his character may not have actually been killed off at all, and claimed he is eager to return for the sequel.

He said: “I’m glad you brought this up, because I have been told by many of the internet sleuths who are obsessed with this movie, that my character is the only one who doesn’t die on screen. 

“So, there may be a return. From my lips to Netflix’s ears, I think Romance should be set to return for the sequel.”

Of course, there’s every chance that Romance did die in the first movie among the chaos of the battle, but it does seem weird that his demise wouldn’t be shown. Was the plan all along to have one of the Saja Boys remain to lay the foundations for a sequel? Perhaps so.

The Saja Boys Have to Return For KPop Demon Hunters 2

It makes a lot of sense for one of the Saja Boys to be brought back for KPop Demon Hunters 2. As one of the best Netflix animated movies to date, there are devoted fans ready to watch the sequel no matter what. Still, having some link to the events of the first film is important for re-establishing that connection with the audience.

Romance may not have been the top dog in the Saja Boys, but he is still incredibly powerful and would pose a considerable threat to Huntrix if he were to fight them again. With Gwi-Ma seemingly gone, could we see a new, even more formidable foe manipulating Romance and turning him into a suped-up version of himself?

Alternatively, there’s a chance we could see Romance follow in Jinu’s footsteps and learn from the error of his ways. It would be interesting to see him try to earn the trust of Rumi, Mira, and Zoey and help them take on whatever villain they encounter next.

Either way, having another familiar face (and voice) among the cast for KPop Demon Hunters 2 would be a popular decision, and forcing Romance to stand on his own away from his bandmates would make for a fascinating dynamic. Make it happen, Netflix!

No show has rocketed up our charts in the last few weeks quite like Pluribus, a fresh, worrying, and relentlessly gripping sci-fi series from the people who brought us Better Call Saul and Breaking Bad. 

Read on to discover more about the show, what it means, and what inspired it, and use the guide below to find out where to stream some similar stuff on services like AppleTV, Netflix, Prime Video and elsewhere.

What Does ‘Pluribus’ Mean? (And What Is The TV Show About?)

Let’s start with the basics. Pluribus is the latest show from Vince Gilligan, the celebrated writer and TV auteur behind Breaking Bad and Better Call Saul. The show stars Rhea Seehorn (who played Kim Wexler across all six seasons of Saul) as Carol Sturka, a successful but disaffected ‘romantasy’ author who survives (for want of a better word) a world-altering event. 

In terms of plot, it’s important to tread lightly: Pluribus is the kind of show that’s best enjoyed with as little prior information as possible. We can say that it’s solidly in the realms of science fiction, the kind that takes place on a version of Earth you recognise, but by the end of the first episode, with the help of some wonderful set pieces and production design, becomes a version of Earth you will not. 

The official tag line—“The most miserable person on Earth must save the world from happiness”—does a great job of expressing the vibe without giving anything away. 

The word “pluribus” comes from the Latin, meaning “of many” or “from many.” For people from Gilligan’s part of the world (i.e. the United States), it presumably rings more of a bell: “E pluribus unum”, meaning “out of many, one”, is considered to be the country’s unofficial motto. 

If the episodes that have been released so far are anything to go by, that suggestion of political subtext is not accidental. This is a show that raises questions about the age-old conflict between individualism and collectivism, and how each of those belief systems tend to, at best, distrust the other and, at worse, demonise it—especially in the U.S and not least in our present moment. 

‘Pluribus’ Was Secretly Inspired By This Sci-Fi Classic

Sci-fi writers and filmmakers have been drawn to this conflict for decades, especially during the Cold War years, with the Red Scare and the communist witch-hunts. One movie that tapped into those anxieties at the time was 1956’s Invasion of the Body Snatchers, which Gilligan (who made his name as a writer and producer on the sci-fi conspiracy series The X-Files) has already mentioned as a key influence for Pluribus. 

In that movie, humans were replaced by alien pods that attempted to replicate human emotion. It’s too early to say, but the hive mind in Pluribus feels more benevolent, so we’ll have to wait and see if Carol’s distrust is unwarranted or if the show is really about something else—like the rise of AI.

Should You Watch ‘Pluribus’?

100%. Not only is Gilligan a genius when it comes to stringing an audience along, but I’ve honestly not been this impressed by a show’s looks and design since Shōgun. Additionally, even though some of the themes are not of this world, the sense of place in Gilligan’s native Albuquerque is as evident as it was in Breaking Bad, which makes the creeping sci-fi stuff all the more uncanny. 

That all adds up to a refreshingly unique experience, especially for fans of ideasy sci-fi like The Leftovers or Black Mirror. If I’m not mistaken, the show also has plenty of things to say and, best of all, I’ve absolutely no idea where it will land.

In this age of information saturation, I must say I find it quite reassuring to walk into the foyer of a movie theatre and spot a poster for a sequel I’ve never heard of. There’s something quite nostalgic about it: a little reminder of a time before Internet marketing took over, perhaps, but also a little reminder of a movie or franchise you haven’t thought of in a while. 

Just recently, Now You See Me became a prime example. Was convincing the world this threequel didn’t exist the greatest trick the Four Horsemen ever played? That’s right: in November 2025, almost a decade after the second instalment, everyone’s favourite bank-robbing, heist-planning, Robin Hood-esque magicians returned to screens to close out the Now You See Me trilogy with the perfectly titled, Now You Don’t.

If something really pops in Hollywood, you can be damn sure (90% of the time, at least) that a sequel is on the way. So, while some of the entries on this list—which I’ve arranged by release date—will be less surprising than others, you might be taken aback by how many you’ve already managed to memory hole. Read on to discover more a nd hit the guide below to keep track of when and where each one will be released—both in theatres and on streaming services like AppleTV, Netflix, Prime Video and elsewhere.

Ready or Not 2: Here I Come (2026)

And speaking of perfect titles, Samara Weaving is set to return in the long-overdue sequel to her 2019 bridal revenge movie Ready or Not, which is, of course, titled Ready or Not 2: Here I Come (though I’m deeply annoyed by that unnecessary “2”). The first one worked wonderfully as a cat and mouse horror/rich people behaving badly movie—think a little bit The Hunt, a little bit Fresh—so we can safely (or perhaps unsafely) expect more of the same this time around.

Weaving will be joined by Kathryn Newton, playing her younger sister, amongst a stacked cast of supporting players, which is said to feature not only Sarah Michelle Gellar but also NBA star Kevin Durant and the body horror god David Cronenberg. 

Expected release: April 10th, 2026

Practical Magic 2 (2026)

Practical Magic 2 has to be one of the least likely sequels in recent years. The original, which was released in 1998, was a box office disappointment and received, at best, fairly lukewarm reviews. The movie’s current rating on Rotten Tomatoes is an unfortunate 27%, yet it’s gained some cultural cache in recent years—not least for its late ‘90s style (think Cruel Intentions) and autumnal, witchy vibe (think The Craft).

The sequel (which is based on Book of Magic, Alice Hoffman’s follow-up to the first novel) is being directed by Susanne Bier, taking over from Griffin Dunne, and will reunite the movie’s iconic stars. Sandra Bullock and Nicole Kidman are on board, of course, but also Dianne Wiest and Stockard Channing. Maisee Williams and Joey King are among the new arrivals. 

Expected release: September 18th, 2026

The Adventures of Cliff Booth (2026)

The Adventure of Cliff Booth is the quintessential they’re actually still making that? movie. It’s scheduled for a 2026 release, and we’ve already seen some set photos, yet for some reason, I’m still not entirely convinced it exists. This is a sequel to Quentin Tarantino’s Once Upon a Time… in Hollywood and will apparently check back in with Cliff Booth (a role Brad Pitt won an Oscar for) in 1977.

The script was written by Tarantino, but the movie is being directed by David Fincher—so if you liked the original but also have a soft spot for Mank, Fincher’s own attempt at recontextualising Hollywood history, this might be one for you. 

Expected release: Tarantino’s movies tend to play in Cannes but the festival still doesn’t work with Netflix. I’d say Venice in autumn for the premiere, with a Netflix release soon after.

Focker in-Law (2026)

Yes, 16 years after the Meet the Parents trilogy ended, with Little Fockers, Robert De Niro and Ben Stiller are set to reprise their roles as Jack and Greg next year in Focker In-Law. The movie is set to be directed by comedy veteran John Hamburg, who wrote all four instalments in the franchise as well as some other Stiller favourites, like Zoolander and Along Came Polly. Iif you’re a fan of their collabs in general, you should definitely have this on your radar. 

Owen Wilson and Blythe Danner are also returning alongside two hilarious newcomers: Ariana Grande and Beanie Feldstein. I am feeling quietly confident about this one. 

Expected release: November 26th, 2026

The Beekeeper 2 (2026)

Next year, Jason Statham is set to reprise his role as Adam Clay—one of the silliest, most fun, and weirdly controversial characters of his career—in The Beekeeper 2. All going to plan, this time next year we will finally get to see if he can keep those damned bees. 

Or not. The more likely outcome is that his solitary beekeeping life will be disturbed by some vengeful remnants of the climactic battle of the first movie, leaving Clay to once again exact a little vigilante justice of his own. The movie is set to be the third English-language feature of the celebrated Indonesian action-horror director Timo Tjahjanto—so if you liked Nobody 2, or even some of his earlier stuff, like May the Devil Take You, this might be one to keep an eye on. 

Expected release: Filming began in September, so late next year seems likely.

The Resurrection of the Christ: Part One and Two (2027)

It supposedly took Jesus Christ three days to rise from the grave. By the time The Resurrection of the Christ: Part One is released, it will have taken Mel Gibson 22 years. A lot has happened with the director in that time, needless to say, so the jury is very much out on this one—but if you’re into historical epics, like the predecessor, or even Gibson’s incredible Apocalypto, you might be just about curious enough to check it out. There are even rumours that Gibson will include some sequences in Hell.

In some ways, it’s still surprising that it’s taken Gibson so long. Whatever you might think about The Passion of the Christ, it earned more than Fantastic Four: First Steps (to cite a recent example) at the box office—even without adjusting for inflation. 

Expected release: Good Friday and Ascension Day, 2027. Or March 26 and May 6, for all the heathens out there.

Constantine 2 (unknown)

Speaking of movies set in the netherworld, the team behind the original Constantine have been attempting to do just that for at least several years now. In 2022, Warner Bros. announced that a sequel was in the works, with Keanu Reeves set to return alongside writer-director Francis Lawrence. However, shifts in both the studio itself and the wider DC universe have left the movie closer to development hell than any soundstage reproduction. 

This is unfortunate, as the original, while far from perfect, certainly turned a profit. Reeves has also tantalisingly spoken about wanting to lean into the R-rated (unlike the ridiculous R-rating the first movie received) with any potential follow-up. If you appreciate the comic book brutality of movies like Logan and Dredd, this is one you might want to add to your watchlist. Whatever the case, we remain in the dark for now.

Expected release: Unknown.

Oceans Fourteen and Ocean’s Eleven Prequel (unknown)

Lee Isaac Chung, director of Minari and Twisters, is currently developing a prequel to Ocean's Eleven. This tasty-sounding project will be set in the 1960s, the same period as when the original Rat Pack movie took place, which means that we’ll presumably get lots of stylish, analogue fun (think retro Bond or even the first Mission: Impossible). The movie is being produced by Margot Robbie, who is also currently pencilled in to star alongside Bradley Cooper. Colour me intrigued.

Simultaneously, there is word going around that yet another Ocean’s movie, this one simply titled Ocean’s Fourteen, is also in development—with Clooney, Pitt, Roberts and the rest of the gang on board. We shall have to wait and see for this one, but if Soderbergh returns, you can consider me seated for this one, too.

Expected release: Unknown.

With a legacy sequel to The Mummy apparently in the works at Universal, fans of the franchise have been feeling nostalgic lately. In an approach similar to movies like Halloween H20, this new instalment is rumoured to pick up where The Mummy Returns left off, thus banishing any memories of Rob Cohen’s lamentable Tomb of the Dragon Emperor for good. Once the announcement was made, rumours immediately began to circulate as to who might be returning. Would Oscar winners Brendan Fraser and Rachel Weisz be coaxed back into playing Rick and Evelyn? Could John Hannah, the beloved Scot, be convinced back into that white linen suit? At the time of writing, it all feels deliciously plausible.

As we wait for those rumours to unravel, it seems like as good a time as any to look back on the original movies and see what became of their many stars. The following list contains actors who were already established when the first Mummy was released in 1999, and some who would go on to bigger and brighter things. For each, I’ve included some recommendations of where else to see them. Hit the guide below to find out where to watch some of those movies on services like AppleTV, Netflix, Prime Video and elsewhere.

Brendan Fraser

It’s fair to say that no actor in any of the Mummy movies has had a more unpredictable career in the years since than Brendan Fraser. The actor entered the franchise already minted as a Hollywood heartthrob, having starred in George of the Jungle two years earlier. However, in the years that followed, a series of personal and professional misfortunes led to him spending most of the 2010s in relative obscurity.

That all changed after a run of prestige TV appearances led to a role in Steven Soderbergh’s No Sudden Move in 2021. From there, Fraser went from strength to strength, earning a shock Oscar win for Darren Aronofsky’s The Whale and landing a supporting role in Martin Scorsese’s Killers of the Flower Moon. 

One to watch: If you love a comeback (think Keaton in Birdman or Rourke in The Wrestler), it’s gotta be The Whale.

Rachel Weisz

Compared to Fraser, Rachel Weisz’s post-Mummy ascendancy has been nothing if not steady. In fact, few actors in the 21st century have managed to balance popcorn cinema (The Bourne Legacy, Black Widow), romantic comedies (Definitely, Maybe), award season prestige (The Lovely Bones) and auteur experimentation (The Fountain, To the Wonder) with such apparent ease. 

Along with marrying James Bond, it’s difficult to choose a high point in the last two decades. Still, her Oscar win for The Constant Gardener and her remarkable performances for Yorgos Lanthimos (in The Lobster and The Favourite) have to take the biscuit. 

One to watch: Her daring, uncompromising work in The Favourite remains her finest achievement. 

John Hannah

His costars might be the bigger stars now, but John Hannah actually came into The Mummy as the most celebrated thespian of the three, having received a BAFTA nomination for his heart-wrenching turn in Four Weddings and a Funeral a few years earlier.

In the years since, however, Hannah has kept things relatively low-key. On the big screen, he’s appeared in comedies like Overboard and period movies like Another Mother’s Son while maintaining a consistent presence on British television. In more recent years, he’s appeared in high-profile shows like The Last of Us and Black Mirror.

One to watch: If you are any kind of fan of British cinema, it has to be Four Weddings and a Funeral.

Dwayne “The Rock” Johnson

After Dwayne Johnson graced our movie screens for the first time, as The Scorpion King in The Mummy Returns, it wasn’t entirely clear what direction the WWE star’s acting career would take. Would he continue to choose slightly more adventurous projects (as he was about to do with Be Cool and Southland Tales) or become the leading action star we saw in Walking Tall?

As we all know, it was almost exclusively a case of the latter. This meant several not very good movies (like Tooth Fairy) and a few kind of great ones (like Pain and Gain and Fast Five). These days, Johnson is attempting a serious rebrand with a role in Benny Safdie’s The Smashing Machine that might just land him a nomination at the Academy Awards.

One to watch: Fast Five is a great heist movie and the best instalment in the franchise.  

Kevin J. O’Connor

The name Kevin J. O’Connor might not be familiar to most people, but alongside his consistent television work and roles in movies like Van Helsing, the actor who played Beni Gabor—Rick’s double-crossing sidekick—has gone on to appear in a couple of modern classics.

Since appearing alongside Weisz and Fraser, O’Connor’s most prestigious work has, without doubt, been his two collaborations with Paul Thomas Anderson. In 2012, he played Bill William in The Master, but his performance as Henry Plainview (opposite no less than Daniel Day-Lewis) in There Will Be Blood remains the high point in his career.

One to watch: There Will Be Blood.

Jonathan Hyde

In 1999’s The Mummy, the Australian actor Johnathan Hyde donned a mildly inappropriate fez to play the benevolent and unfortunate Egyptologist Allen Chamberlain. This was a slight change of pace for an actor better known for playing smarmy villains at the time, as he had done two years earlier as Bruce Ismay in Titanic. 

Since The Mummy, Hyde has continued to work as a reliable character actor, popping up in everything from The Tailor of Panama and Crimson Peak to last year’s The Brutalist. 

One to watch: His Titanic role is iconic for a reason, but for something more recent, why not try The Brutalist?

Oded Fehr

The Israeli actor Oded Fehr is probably still best known for playing Ardeth Bay—the Medjai chieftain who becomes friends with Rick and Evelyn—in the first two Mummy movies. Since then, he’s appeared in a bunch of big and small screen productions, including the Deuce Bigalow movies and, more recently, as Admiral Charles Vance in Star Trek: Discovery.

Fehr’s biggest franchise role outside of the Mummy movies has been in Paul WS Anderson’s Resident Evil movies—in which he played Carlos Olivera in Apocalypse and Extinction, and later returned as a clone in Retribution.

One to watch: Resident Evil: Extinction. It’s one of the best of the series, and he’s one of the best parts of it. 

Shaun Parkes

Since playing the airship pilot Izzy Buttons in Mummy Returns, Shaun Parkes has enjoyed a consistent career across movies and television, appearing in British favourites like Doctor Who and Line of Duty while landing roles in celebrated films like Notes on a Scandal. 

In 2020, however, Parkes gave his greatest performance to date in Steve McQueen’s wonderful Small Axe miniseries for the BBC. Appearing in the first episode, titled Mangrove, Parkes’ portrayal of civil rights activist Frank Crichlow earned the actor a deserved nomination for Best Actor at the British Academy Television Awards.

One to watch: It has to be Small Axe.

Adewale Akinnuoye-Agbaje

After appearing as the antagonist Lock-Nah in The Mummy Returns, the British actor Adewale Akinnuoye-Agbaje has played villains in a host of beloved franchises—including Kurse in Thor: The Dark World, Nykwana Wombosi in The Bourne Identity and Killer Croc in the 2016 Suicide Squad.

On the small screen, his roles have been arguably more iconic—notably his portrayal of Malko in Season 5of Game of Thrones. For Lost fans like me, however, he will always and forever be Mr Eko. 

One to watch: Lost.

Arnold Vosloo

Having fallen into a bed of scorpions at the end of The Mummy Returns, it’s unclear if Arnold Vosloo’s Imhotep will be returning for the new movie—but having seen him resurrected once in the series already, fans won’t be betting against it. 

Whether Vosloo will return in the role is another question. Since that movie, the South African actor has appeared in various TV shows, a couple of G.I. Joe movies and opposite Leo DiCaprio in Blood Diamond—the latter of which is probably the high point of his career from that period. 

One to watch: Blood Diamond

Patricia Velasquez 

Surprisingly enough, given her prominence in the first two Mummy movies (where she played Anck Su Namun), the model-turned-actress Patricia Velasquez hasn’t appeared in too many movies and TV shows since. 

You might have spotted her in Season 1 of Arrested Development, where she played the actress Marta Estrella, or more recently in the horror movie Malignant. Outside of acting, Velasquez has dedicated her time to assisting indigenous Wayuu communities in northern Venezuela. 

One to watch: Arrested Development 

This article was originally written by Jess Bacon and published on 13 August 2024.In 1993, Steven Spielberg changed the future of cinema with his sci-fi classic, Jurassic Park. Adapted from the 1990 novel of the same name, the story focuses on a wealthy businessman and a team of scientists who create a wildlife park in which previously extinct dinosaurs once again roam the earth.

From close encounters with velociraptors to an iconic chase with a T-Rex, it’s an action-packed adventure that has earned its prestigious place in film history while inspiring a whole genre of prehistoric stories. Read on to discover more about them and use the guide below to find out where to stream each one on platforms like AppleTV, Netflix, Prime Video and elsewhere. 

Jaws (1975)

We can’t talk about Jurassic Park without mentioning Jaws, a film that basically swam so the T-Rex could run. This was the first time that Steven Spielberg reinvented the summer movie. It was also the first of three times in his career that the director made a movie that went on to top the highest-grossing of all time. 

Jurassic Park fans who return to that movie for its masterful suspense and that special Spielberg touch (think E.T., Close Encounters) will happily sink their teeth into Jaws, a true classic that has just celebrated its 50th anniversary—so what better reason to watch?

King Kong (2005)

Of course, with King Kong, it’s always worth going back to the 1933 original—a movie that still stands up today—but fans of Jurassic Park’s clash of ancient beasts will probably feel more at home with Peter Jackson’s 2005 remake—an effects heavy movie, perhaps with more in common with the recent Jurassic movies, but also one that boasts the Lord of the Rings director’s unique filmmaking abilities. 

Set in 1933, the same year as the original, Jackson’s King Kong is a labour of love and a true retelling. It also features the great Andy Serkis in the titular role. 

Godzilla Minus One (2023)

With almost 40 Godzilla movies to choose from (the earliest dates back to 1954), it’s challenging to single one out, but we’ve decided to go for Godzilla Minus One, a wildly entertaining 2023 movie from the Japanese director Takashi Yamazaki.

If you appreciate the clever ways that Spielberg used the dinosaurs in Jurassic Park (or the way that Gareth Edwards did in his early film Monsters), you’ll certainly appreciate Yamazaki’s less-is-more approach here. This is a movie that cost less than $15 million to make but managed to beat both Mission: Impossible - Dead Reckoning and Guardians of the Galaxy 3 to win Best VFX at the Academy Awards. 

Deep Blue Sea (1999)

Deep Blue Sea is one of the many copycat movies that sprang up after Jurassic Park’s enormous success. If you’re particularly interested in stories about the awful things that happen when humans play god with nature (there are a few other entries on this list), this is one you’ll want to see.

The plot follows a group of scientists who discover a cure for Alzheimer's in the brains of great white sharks. [Nathan Fielder voice] The plan? Genetically engineer the sharks to have gigantic brains. What could possibly go wrong?

Lake Placid (1999)

Dealing not with a genetically engineered creature but a prehistoric beast, Lake Placid isn’t swimming in the same thematic waters as Deep Blue Sea, but it’s very much in the same lineage of people versus big nature. This is a movie that does for alligators what Deep Blue Sea does for sharks—so if you’re a fan of that movie, or the similarly reptilian Anaconda, this might be one for you. 

Bill Pullman, Brendan Gleeson and Bridget Fonda lead a mish-mash gang of cops and scientists attempting to stop a gigantic alligator from terrorising a small town. 

The Meg (2018)

The Meg can be added directly to the ‘don’t-play-god-and-mess-with-nature’ subsection of this list. It can also be added to the goofier corner, too: Jason Statham travels to an underwater facility to help a tech billionaire (Rainn Wilson) save some people from a 75-foot-long megalodon shark.

This is also a movie that fans of Statham in particular will love, especially if you like the more recent efforts like The Beekeeper and A Working Man. Honestly, just hearing him say “megalodon” is worth the entrance. 

The Fly (1986)

Another in our ‘don’t-play-god’ movies is David Cronenberg’s The Fly, a film I believe to be among the best ever made. If you’re a fan of Cronenberg’s (think Videodrome or Scanners) or enjoy Jurassic Park‘s relatively tidy sci-fi conceit, you’ll appreciate the vibe of this one.

The movie stars Jeff Goldblum (another Jurassic link) as a scientist who discovers teleportation, only to splice his genome with that of a rogue fly that inadvertently hops in the travel pod with him. 

Dawn of the Planet of the Apes (2014)

The trio of Planet of the Apes movies released from 2011 to 2017 is not just one of the best reboots of any franchise; it’s also one of the most consistently strong trilogies ever made. Fans of Jurassic Park might be particularly keen on the second instalment, Dawn of the Planet of the Apes, in which an ape world on the rise and a human society in decline find each other on relatively equal footing. 

This is a movie for fans of speculative science fiction that’s both action-packed and thoughtfully considered—think movies like The Creator or Annihilation. 

65 (2023)

Somewhat less thoughtfully considered but no less action-packed is the recent Adam Driver-starring movie 65. This is more of a classic chase and hunt film, like the very good recent Predator movie Prey—except, to put it frankly, this one has dinosaurs. 

The story follows an astronaut who must help a young girl to survive after he crash-lands on an unknown planet. Is it Earth? Is it the past? Only one way to find out. 

The Land That Time Forgot (1974)

We’ll finish our list with The Land That Time Forgot, a classic from 1974 that I presume was somewhere in Spielberg’s mind when he sat down to make Jurassic Park—it’s also one that fans of some of the older movies we’ve mentioned on this list (like Apes, Kong and Godzilla) might be fond of. 

The plot follows a group of British officers in WWI who commandeer a German U-boat only to land on an uncharted island populated by—you guessed it—dinosaurs.

Ah, the slippery world of movie valuation. There are so many tools we can use to determine a movie’s performance—reviews, awards, longevity, cultural impact, cult status—but nothing holds weight in Hollywood quite like cold, hard cash. 

That said, as I will go on to explain, writing this list put me in some unusual positions. The term “flop”, for one, just seems a little harsh—especially when it’s impossible to know what studios are expecting most of the time. 

Regardless, whatever the mix of bad luck and who-knows-what that went into these movies being unsuccessful shouldn’t mean that you have to miss out on them. Some of the titles mentioned below are truly great, and others are certainly worth a look, at least. Read on to find out how much they stand to lose, and where to watch them on services like AppleTV, Netflix, Prime Video and elsewhere.

One Battle After Another

This one still kinda stings. Last week, Variety reported that Paul Thomas Anderson’s One Battle After Another (an instant classic that fans of There Will Be Blood and Magnolia will love) is projected to lose $100 million at the box office. This is awkward news as it’s so rare to see a filmmaker of Anderson’s talents entrusted with such a budget, but whether Warner Bros. was really expecting an Oppenheimer-style hit is harder to know. 

Whatever the case, even if it takes 20 years of repertory screenings (expect some after the Oscars), the movie will eventually get into the black—it’s simply too good not to. It will also put the studio front and centre at next year’s Academy Awards, where it has as good a chance as any of winning Best Picture. That would be a cherry on top of an already landmark year in the studio’s modern history. Is this not what A Minecraft Movie is for?

Projected loss: $100 million—but they’ll make it back. 

The Phoenecian Scheme

I feel, at least on some level, that AI had something to do with The Phoenecian Scheme, Wes Anderson’s latest movie, underperforming at the box office. In 2023, around the release of Asteroid City, a series of deeply annoying, Wes-inspired trailers (fake versions of things like Lord of the Rings and Star Wars) started doing the rounds, seemingly confirming a public suspicion that the director’s style is easily copied and thus easily mocked.

That has had a knock-on effect of devaluing Anderson’s genius—even though his movies, IMO, continue to be packed with unmistakable human emotion. For my money, The Phoenecian Scheme is the funniest and most satisfying movie he’s made since The Grand Budapest Hotel. So, if you like that one or enjoyed Benicio’s performance in One Battle After Another, you should definitely give it a chance!

Projected loss: This one’s tight, but with marketing and distribution, it’s gotta be in the red. 

Mickey 17

Winning the Palme d’Or and four Oscars with Parasite was always going to be something of a poisoned chalice for Bong Joon-ho. The director has had a shaky history with Hollywood, but the offer of a big budget and Robert Pattinson doesn’t come around too often, even for the greatest international auteurs. 

In the end, Mickey 17 became yet another messy experience for Bong—with news of reshoots and ballooning costs accompanying its bizarrely yo-yoing release date. In the end, it’s hard to say who’s to blame. The movie itself, like anything the director makes (though Snowpiercer and Okja are probably the closest comparisons), is naturally more than worth your time—especially if you like your sci-fi inventive, bonkers and kinda gross. 

Projected loss: It ended its run at $133 million worldwide, which is probably half of what it needed to break even. 

M3GAN 2.0

I must say this one caught me off guard. The first M3GAN had been a surprise hit for Blumhouse—a PG-13 horror about a killer doll that spawned a viral dance and solidified its character as an unlikely queer icon while raking it in at the box office. Surely a sequel, unlike the doll herself, would simply be a case of plug-and-play?

Well, apparently not. Was it the studio’s decision to lean more into the comedy, repositioning its titanium star as an action heroine, Terminator 2 style, that failed to draw the crowds? I still can’t say for sure. What I do know is that this was a good time at the movies—especially for anyone who saw Ex-Machina and felt it needed a little extra sass.  

Projected loss: This one probably just broke even, but given the franchise potential (various spinoffs were apparently already in the works), it’s hard to see this as anything but a major disappointment. 

Thunderbolts*

Coming in the aftermath of Johnathan Major’s disastrous fall from grace and the critical and commercial disappointments of The Marvels and Captain America: Brave New World, the pressure was on for Thunderbolts* to close out the MCU’s fifth phase with a financial bang. As you can guess by its placement on this list, it didn’t quite work out as planned.

Whether due to a lack of familiarity with the characters or a general sense of superhero fatigue, the movie underperformed. It’s actually kind of a shame, as Thunderbolts*, which was directed wonderfully by Jake Schreier, is easily one of the best Marvel movies since Endgame. What can I say? If you liked David Harbour’s Red Guardian in Black Widow or are a fan of unconventional antihero team-ups in general, like James Gunn’s The Suicide Squad, you’re probably gonna like it.

Projected loss: Despite taking $425 million at the box office, a number way over its budget˛, the bizarre economics of tentpole releases suggest that it probably didn’t turn a profit. This means it will go down as one of the worst-performing MCU movies of all time. 

The Smashing Machine

There has been plenty of chatter in recent years about how Hollywood doesn’t make movie stars anymore—at least not the kind that can sell a movie on name recognition alone. Two people who are usually suggested to counter that argument are Leonardo DiCaprio and Dwayne “The Rock” Johnson, both of whom are currently struggling to keep up their side of the bargain with One Battle After Another (see above) and The Smashing Machine, respectively. 

Johnson’s case is even more interesting, as it’s by far the riskiest project (both artistically and financially) that he’s taken on in years—a clear attempt to redirect his career toward quality work that I think is quite commendable. The movie itself, I’m afraid to say, is a little low on momentum—especially for any sports or UFC fan looking for a classic underdog story. It is, however, a strangely beautiful movie—and if you liked the weird vibe of Good Time and wanted to see what it would be like if one of that movie’s directors remade The Wrestler, now’s your chance!

Projected loss: Despite an award in Venice and plenty of buzz around Johnson’s performance, the $50 million movie made just $6 million on its opening weekend—the lowest wide release of the actor’s career.

Black Bag

Black Bag’s financial underperformance is tricky to assess, as the Steven Soderbergh movie—a tightly-wound espionage thriller—came to streaming quite fast, and long before opening worldwide. Whatever the case, the director will take little solace from any of that after watching his ecstatically reviewed, $60 million (not including marketing costs) movie take just $40 million at the worldwide box office. 

I can imagine this was especially frustrating for Soderbergh, a director who usually shoots and edits his own movies, and a person widely considered to be one of the most savvy filmmakers of the last 30 years. Whatever the case, don’t let those numbers turn you off—especially if you appreciate the director’s work (think Ocean’s Eleven or Out of Sight) or were a fan of Michael Fassbender’s performance in David Fincher’s recent Netflix hit, The Killer.

Projected loss: After everything is taken into account, probably in the range of $30 million. 

Elio

Like Marvel, Pixar has recently had to come to terms with the fact that it’s struggling to launch new stories and characters. Some believe this is due to the studio’s decision to start releasing some of its movies (including the excellent Turning Red) direct-to-streaming, thus taking away the sense of urgency that used to come with a theatrical release.

Whatever the reasons, Elio now holds the record for the worst opening weekend of the animation giant’s history, ultimately failing to come anywhere close to recouping its reported $170 million budget. This is unfortunate, as while the movie doesn’t come close to the best Pixar work, it’s still superior to most other animated movies out there and provides the signature blend of warmth and humour (think second rung Pixar movies like Onward and Luca) that the studio is famous for. 

Projected loss: Somewhere in the eye-watering region of $130 million. 

Accountant 2

Back in the land of moderate underperformance: Ben Affleck and Jon Bernthal’s return in The Accountant 2, Gavin O’Connor’s follow-up to his enjoyable, Chris Nolan-lite, 2016 action thriller, didn’t quite drum up the enthusiasm that anyone involved probably expected.

Was this because the sequel got rid of all that, you know, accounting stuff? Perhaps. But whatever the case, it scored some relatively positive reviews and will probably break even on VOD in the end—and if you liked the first movie or enjoy Bernthal in Punisher mode, you’ll probably have some fun with it. 

Projected loss: It probably ended its theatrical run at around $40 million under. 

Snow White 

We’ll end on a double whammy. I think it’s safe to say that Disney’s live-action Snow White was both a financial disaster and a hornet's nest of toxic energy. Presumably, when the movie was greenlit, nobody at Disney was thinking that its two stars would end up on opposing ends—and quite publicly—of the world’s most complicated conflict, and then they did. 

We won’t delve into all that here, but suffice to say that the movie’s star, Rachel Ziegler, had to face a torrent of abuse even before the movie was released—both for her political stances and for simply being a Latinx actor. These were just a few of the bad-faith stories that led to the movie receiving the worst kind of press and commentary imaginable. In the end, for whichever reason, Snow White became a certified box office bomb—but if you like the cut of Ziegler’s jib or appreciated her incandescent performance in Spielberg’s West Side Story, you might want to show some support by giving this cursed movie a watch. 

Projected loss: Anywhere upwards of $150 million and a lot of people’s dignity. 

After landing on Prime Video and Now TV last week, All Her Fault immediately shot up our streaming charts to become one of the buzziest shows of the season. Adapted from Irish crime writer Andrea Mara’s bestselling novel, the eight-episode miniseries concerns both a mother’s psychological unravelling after her five-year-old son goes missing, and the witch hunt that inevitably follows.

Produced by Peacock and directed by Mike Spiro (The Plot Against America) and Kate Dennis (The Handmaid's Tale, GLOW), All Her Fault moves Mara’s story from the suburbs of Dublin to Chicago, Illinois. It also boasts a genuinely all-star cast, many of whom I’m sure you’ve seen before. Read on to discover more and use the guide below to find out where to some of their best work on services like AppleTV, Netflix, Disney+ and elsewhere.

Sarah Snook as Melissa Irvine

Sarah Snook is already getting rave reviews for her lead performance as the unravelling wealth manager, Melissa Irvine, at the centre of All Her Fault, but the Australian star is already considered prestige TV royalty for her iconic performance as Shiv Roy over four seasons of Succession on HBO.

Before moving to America, Snook rose to fame in her native Australia after an early stage performance as Cordelia in King Lear (a practice run for Shiv, as it turned out), which led to her landing a series of film and television roles. She gained international recognition after appearing opposite Ethan Hawke in the sci-fi movie Predestination, which led to parts in the Oscar-nominated Danny Boyle film Steve Jobs, as well as The Glass Castle from Dustin Daniel Crettin. 

More recently, Snook has divided her time between stage and screen, appearing in indie gems like Pieces of a Woman while famously playing all 26 parts in a celebrated production of The Picture of Dorian Grey—the latter of which won her an Olivier Award and a Tony Award to place alongside the Golden Globes and Emmy she won for Succession.

One to watch: Succession, especially if you’re a fan of movies like Mountainhead or The Big Short. 

Jake Lacy as Peter Irvine

If you need someone to play a classically handsome, potentially threatening, potentially heartbroken love interest who, more often than not, has a furrowed brow, Jake Lacy is your guy. The actor got his first big break when he was brought on as a love interest for Erin in the final season of the US Office. That role saw him typecast for a while, albeit in wonderful movies like Todd Haynes’ Carol and Jenny Slate’s underrated pregnancy comedy, Obvious Child. 

His best role to date, however, was the obliviously wealthy husband to Alexandra Daddario’s flailing writer in season one of The White Lotus, a show that allowed him to strip away the nice guy image and bare his teeth. As Melissa’s husband, Peter, in All Her Fault, he gets to explore that darker side again.

One to watch: If you’re in the mood for charming comedy, try Obvious Child, but Season 1 of The White Lotus is still the actor’s best work. 

Sophia Lillis as Carrie Finch

Though still only 23, Sophia Lillis (who plays Carrie, the nanny accused of kidnapping Melissa’s son, in All Her Fault), has already racked up many formidable credits. With her elfin looks, it was probably inevitable that she’d end up in a fantasy movie at some point, but luckily for us, that movie was Dungeons & Dragons: Honour Among Thieves—a hilarious Chris Pine vehicle that allowed Lillis to show her comedic talents, too. 

After a handful of stage appearances in New York, Lillis got her big screen break when she was cast alongside Finn Wolfhard in It and It Chapter Two. From there, she’s mostly focused on indie films, appearing in Dustin Guy Defa’s The Adults and, somewhat inevitably, in Wes Anderson’s Asteroid City.   

One to watch: Plenty to choose from, but if you’ve not seen The Adults, I’d highly recommend it—you might not have ever heard of it, but you’ve probably seen this clip.

Dakota Fanning as Jenny Kaminski

Elle might be everyone’s favourite Fanning these days, but Dakota had to walk so her sister could run. Long before the younger Fanning was being cast by Sofia Coppola and Nicolas Winding Refn, Dakota was the most in-demand child actor in Hollywood. 

The elder Fanning found early fame after playing the daughter of Sean Penn’s character in I Am Sam when she was seven years old. From there, she went on to co-star with Denzel Washington in Tony Scott’s Man on Fire and with Tom Cruise in Spielberg’s War of the Worlds. In more recent years, she’s found a nice sweet spot between IP movies (like Twilight and Ocean’s Eight), auteur-driven projects (like Once Upon a Time… in Hollywood and Night Moves) and prestige TV shows, like Ripley and All Her Fault—don’t call it a comeback. 

One to watch: Plenty to choose from, but if you like your sci-fi with some Spielbergian flavour, it’s gotta be War of the Worlds.

Michael Peña as Detective Alcaras

If you’re anything like me, you probably felt reassured to see Michael Peña playing a police officer in All Her Fault. Since breaking onto the scene in movies like Crash and Million Dollar Baby, the Chicago-born actor has played a lawman more times than I can remember—and in as wide-ranging movies as Babel, World Trade Centre, CHiPs and End of Watch.

Outside of his dramatic roles, Peña is probably best known for his comedic timing: he’s often funny in movies (like The Martian and American Hustle) but in Peyton Reed’s Ant-Man, he’s downright hilarious.

One to watch: For the drama, go End of Watch; for the laughs, go Ant-Man.

Abby Elliot as Lia Irvine

On paper, Abby Elliot’s rise in the industry might look a little nepobaby-coded, but the actor earned her dues before joining the cast of SNL in 2008—just like her dad (Chris Elliot) and uncle (Steve Higgins) before her, and just as her cousin, John Higgins, would later do. 

After leaving the NBC sketch show in 2012, Elliot started appearing in various shows (like 2 Broke Girls) and movies (like No Strings Attached) before landing the role of a lifetime as Carmy’s sister, Natalie, in The Bear. In All Her Fault, Elliot continues that trend, playing the sister of Lacey’s Peter.

One to watch: It’s gotta be The Bear, particularly her Golden Globe-nominated work in season two.

Jay Ellis as Colin Dobbs

Outside of playing Colin Dobbs, Marissa’s friend and business partner, in All Her Fault, you might recognise Jay Ellis from some of his roles on the big screen: since entering the industry 20 years ago, the actor has appeared in everything from Movie 43 and Freaky Tales to Top Gun: Maverick.

The actor is still best known, however, for his work on television—and even if you haven’t seen him in Mrs America and The Game, you’ll probably know him for playing Lawrence, Issa’s long-term boyfriend, in the HBO series Insecure. 

One to watch: If you like sharply written shows like Girls and Hacks, you’ll probably like Insecure a lot.

Thomas Cocquerel as Riche Kaminski

If you recognised Thomas Cocquerel, who plays the husband to Fanning’s Jenny in All Her Fault, it might be for his portrayal of Errol Flynn in the Australian biopic, I’m Like Flynn, or for the psychological horror movie Escape Room: Tournament of Champions. More likely than not, however, you’ll know him for playing Tom Raikes in the first season of The Gilded Age.

One to watch: If you like a spicy period drama, The Gilded Age should be right up your street.

From classic favourites like When Harry Met Sally to beloved modern hits like 27 Dresses, romantic comedies have an undeniable charm – blending humour, heart, and hope – that keeps us coming back for more.

But as much as the genre’s older greats continue to enchant us, it’s always worth exploring the new titles that are released every year. This batch of rom-coms from 2025 pushes boundaries, experiments with classic stories, and introduces characters you can’t help but root for. Whether you’re craving a quirky adventure, a bit of old-school sentimentality, or a witty take on modern romance, there's something on this list for everyone. So, if you’re ready for your next romantic escape, here’s a lineup of eight new rom-coms guaranteed to sweep you off your feet.

Maintenance Required (2025)

Maintenance Required stars Madelaine Petsch as Charlie, a talented mechanic who runs an independent car service shop in Oakland. When a large corporate chain swoops in to buy her out, Charlie and her all-female team decide to stand their ground. Amidst the mounting pressure and stress, Charlie finds a surprising source of comfort in an anonymous connection in a car chatroom. As their online relationship deepens, neither she nor the mysterious stranger realises he’s the manager of the competing chain, Beau. 

Drawing inspiration from classics like The Shop Around the Corner to You’ve Got Mail, Maintenance Required revisits the popular trope of romantic pen pals who think they’re enemies. While the plot structure isn’t groundbreaking, the movie’s charm lies in the undeniable chemistry between Charlie and Beau as well as the fantastic side characters, like comedian Matteo Lane as Beau’s gay best friend Jordan, and Madison Bailey and Katy O'Brien as the loyal garage girls. It’s a feel-good ride that proves you can’t go wrong with a classic setup when it’s handled with sincerity and humour.

She Said Maybe (2025)

She Said Maybe might be a German-language rom-com, but don’t let the subtitles turn you off! This film revolves around Mavi, a woman of Turkish descent raised in Germany who embarks on a journey that upends her sense of self and how she imagines her future. When she visits Turkey with her boyfriend to meet her family, she discovers a startling truth: that she is part of an extremely wealthy, dynastic family. As she immerses herself in this new, opulent world of tradition and high expectations, Mavi finds herself questioning who she is and who she wants to become.

If you loved The Princess Diaries, you’ll be charmed by She Said Maybe. Both films share the theme of a woman from a modest background suddenly thrust into a world of luxury and elegance. As Mavi adjusts to her newfound reality, she is caught between her grounded, loving boyfriend and the allure of a more glamorous, confident man. It may not reinvent the wheel, but its charm lies in its beautiful depiction of Istanbul’s vibrant culture and the relatable struggles of finding your place in the world.

Ruth & Boaz (2025)

Ruth & Boaz is a modern twist on a timeless biblical story. Ruth, played with magnetic energy by Serayah McNeill, is a rising star in Atlanta’s hip-hop scene. However, she decides to leave her career behind to care for her ailing late partner’s mother in the idyllic Tennessee countryside. There, she meets Bo, a kind local vineyard owner. Their chemistry is undeniable, and love blossoms amidst the rolling vineyards, but Ruth faces a dilemma: she’s still bound by contract to her music label, which complicates her newfound happiness.

This adaptation may not be strictly biblically accurate, but it breathes fresh relevance into an ancient tale. The chemistry between Serayah McNeill and Tyler Lepley is electric, and their interactions are deeply engaging, making their romance feel real and earned. The scenic shots of rural Tennessee add a layer of tranquillity that highlights the beauty of the area, providing the perfect background for the characters’ emotional journey together. 

The Wrong Paris (2025)

Dawn’s dream of attending art school in France hits an unexpected snag in The Wrong Paris. To secure funds, she decides to participate in the Honey Pot, a Bachelor-style reality dating series set in Paris, to at least get a free trip there. There’s only one problem—the series actually takes place in Paris, Texas, a mere few miles from where she grew up, and not Paris, France. But despite her reluctant participation, Dawn isn’t prepared for the sparks that fly with the charming bachelor himself.

This film is the perfect pick-me-up for hopeless romantics. It’s got all the self-aware kitsch of the A Christmas Prince movies with a dash of the fashionable sheen of Emily in Paris. If you enjoy your rom-coms utterly unrealistic, packed with eye-candy actors, and sprinkled with witty humour, The Wrong Paris is the ideal watch for you.

The Threesome (2025)

The Threesome lands somewhere between rom-com and drama, offering a fresh take on love in complex modern times. While it may not always be bursting with laughs, it more than makes up for it with its original and daring storyline. The film stars Jonah Hauer-King as Connor, a 30-something sound engineer with a long-standing crush on Olivia, the prickly waitress at his favourite restaurant. To make Olivia jealous, Connor starts flirting with Jenny, a woman who was stood up by her date. However, what starts as a simple flirtation takes an unexpected turn—leading all three into a night they’ll never forget, resulting in both women becoming pregnant.

It’s easy to assume that The Threesome might veer into superficial, fist-bumpy territory, but luckily, it does anything but. While there are some genuine laughs, the film’s true strength lies in its tenderness and emotional depth. Zoe Deutsch’s Olivia and Ruby Cruz’s Jenny are layered, well-rounded characters that are likeable in totally different ways, and the film’s exploration of friendship, love, and vulnerability makes it a unique addition to the genre. 

Bridget Jones: Mad About The Boy (2025)

This equally heartwarming and tearjerking fourth instalment in the Bridget Jones film series reintroduces us to a now 51-year-old widowed (sob) Bridget as she navigates the chaotic world of modern dating. Juggling single parenthood and grief is no easy feat, but with the unwavering support of her friends—including the ever-charming Daniel Kleaver—Bridget manages to find the time for sparks to fly with the 29-year-old Roxter, and her son’s handsome teacher, Mr Walliker.

As charming and delightfully awkward as ever, Bridget Jones remains a shining star in the world of rom-coms. Renée Zellweger offers warmth and grace as she brings Bridget into a new era, and it’s genuinely uplifting to see the whole gang—including Hugh Grant—back together to champion Bridget along the way. Be warned, Mad About the Boy may tug at your heartstrings more than expected, because it’s a story about loss, hope, and embracing life’s unpredictable turns. It’s a fitting, if bittersweet, tribute to Colin Firth’s Mr Darcy, and a reminder that love, at any age, is worth pursuing.

Too Much (2025)

Love her or hate her, there’s no denying that Girls creator Lena Dunham always has a unique and authentic take on modern dating stories. In her latest series, Too Much, Megan Stalter stars as Jess, an unapologetically messy 30-something who moves to London for a job after her ex cheats on her with an influencer named Wendy. On her first night in her new city, Jess meets Felix—a charming but somewhat lost musician—and they quickly form a deep, if complicated, connection. Meanwhile, Jess obsessively follows Wendy’s social media and records video diaries to her as a way to vent and process her own feelings.

Too Much is for anyone who appreciates a relationship that’s far from perfect—sometimes messy, often unpredictable, but always real. Jess isn’t a typical rom-com heroine: she’s loud, unfiltered, and dramatic—but that’s kind of the point; Jess offers permission for us all to be just a bit bigger and messier in our relationships, and still be loved. While some aspects of her relationship with Felix could be labelled as “toxic”, the series handles these moments with honesty and humour, allowing the story to become a playful celebration of modern love in all its raw, unfiltered glory.  

Nobody Wants This - Season 2 (2025)

When Nobody Wants This premiered on Netflix in 2024, people around the world positively swooned when Adam Brody’s Noah said to Joanna, “I'm on your side. I can handle you”. Now in its second season, Nobody Wants This takes Joanna and Noah into the next phase of their relationship as they negotiate how to intertwine their lives.

Full of plenty of wisecracks and emotional depth, this season brings us along for the ride as Joanna and Noah navigate the rocky road of honouring their very real feelings for each other, and their perhaps incompatible life visions. This is one for the lovers of rom-coms that don’t imagine relationships to be perfect, but rather a high-wire act that the performers somehow managed to cross.

Whatever your political persuasion, Katheryn Bigelow’s A HOUSE OF DYNAMITE probably left you with some anxious feelings. The Hollywood legend’s first movie in nine years has been topping the streaming charts thanks to its all-star cast and thrilling setup—how would the U.S. react if a single, rogue nuclear missile suddenly appeared on their radar screens, destined for Chicago in roughly 20 minutes?

Still reeling from your first viewing (or from that divisive ending) and looking to ramp up the anxiety a little more? Or maybe you’d rather slip into a more reassuring type of show. Either way, we’ve got you covered: here are ten of the best political TV shows of the last few decades—which I’ve arranged in no particular order. Read on to discover more and use the guide below to find them on services like AppleTV, Netflix, Prime Video and elsewhere.

House of Cards (2013-2018)

House of Cards is one of the most significant shows of the century, as it basically spearheaded the idea of binge-watching while helping to turn Netflix into the global phenomenon that it is today. It is also a relentlessly gripping political TV show, especially if you like the movies of David Fincher (think The Social Network, Zodiac)—the man responsible for its creation.

Just in case you’ve not seen it before, it’s worth noting that Kevin Spacey plays the lead role of Frank Underwood and narrates almost every episode in the first five seasons—so if you’d rather not give the actor any more screentime, perhaps it’s best to try another show on this list.

Zero Day (2025)

If you enjoyed the writing and tone of Bigelow’s movie, you mostly have Noah Oppenheim to thank for that. The screenwriter has been working in Hollywood for years, notably on Pablo Larraín’s excellent Jackie (concerning the former first lady’s actions in the days after JFK’s assassination), but more recently on the six-episode miniseries Zero Day, a political thriller starring Robert De Niro.

The plot centres on a former U.S. president (De Niro) who is called out of retirement to help with a devastating cyberattack. Jesse Plemons and Angela Bassett lead the formidable supporting players.

Veep (2012-2019)

If you liked how House of Dynamite offered the chance to watch hapless politicians squirm under pressure, you might take some sadistic joy in watching Armando Iannucci’s Veep. This darkly hilarious HBO series centres on the petty, incompetent, but relentlessly power-hungry political career of vice president Selina Meyer (Julia Louis-Dreyfus)—and if you like Iannucci’s work on movies like In the Loop or The Death of Stalin, this one kind of takes the biscuit.

The cast is stacked with hilarious actors (including Matt Walsh, Tony Hale and Sam Richardson), but of course, Veep would be nothing without Dreyfus, who won a whopping nine Emmys for her performance over seven seasons of the show.

The Thick of It (2005-2012)

And speaking of Iannucci’s work, if you’ve already seen Veep and fancy going a little more down the Armando rabbit hole, it’s well worth checking out The Thick of It. Produced for the BBC, this iconic political show—which examined the inner workings of the British government with merciless satirical energy—basically wrote the blueprint for his more celebrated HBO show. 

This is also the show that gave the world Peter Capaldi’s colourfully profane and extremely Scottish spin doctor, Malcolm Tucker, so if you’re a fan of Capaldi’s time as the Doctor, you might get a kick out of seeing him let loose here. 

Shōgun (2024)

If all those present-day worries are proving a bit too much, you can always delve into the past with Shōgun. This celebrated show is set in Japan at the turn of the 17th century, a time when people were less concerned with rogue nuclear missiles than whether a social faux pas would result in them having their head chopped off.  

Produced by FX and Hulu, Shōgun offers a dazzlingly realised recreation of that period in history, but the way the characters operate is really not so different to more modern political shows—imagine House of Cards meets Throne of Blood and you might have some inkling of what to expect.

Succession (2018-2023)

If you watched House of Dynamite and moved on to The Thick of It, you’ll want to get onto Succession as quickly as possible. Iannucci actually co-wrote The Thick of It with Jesse Armstrong, the Succession showrunner and another veteran of UK television who has found incredible success since moving to HBO. 

Over four seasons, Succession—which charts the inner workings of a family as the younger generation fight tooth and nail over their father’s media empire—cemented itself as one of the most celebrated TV shows of all time. It’s also a show with no shortage of things to say about the state of contemporary politics—and if you liked Armstrong’s recent TV movie Mountainhead, you really have to check it out.

The West Wing (1999-2006)

If all that satire and darkness is getting to be a bit too much, why not try the decidedly warmer waters of The West Wing? This is the show that really made Aaron Sorkin a household name, so if you like his famously quickfire dialogue in movies like Moneyball and A Few Good Men, you’ll likely really enjoy this.

Just be warned, the politics here—the show centres on a liberal president, played beautifully by Martin Sheen—can sometimes get a bit gooey for comfort, but if you’re willing to suspend disbelief and give it the benefit of the doubt, it offers a comforting window to a more hopeful time. 

Parks and Recreation (2009-2015)

Speaking of more hopeful vibes, few shows have dealt with the good kind of local politics with quite as much fun and optimism as Parks and Recreation. Set in the fictional town of Pawnee, Indiana, the show centres on Leslie Knopp (Amy Poehler), the hard-working and relentlessly positive deputy director of the city’s Parks and Recreation Department. 

Starting in 2009, the show proved to be a launchpad for several huge stars, including Chris Pratt (Guardians of the Galaxy), Aubrey Plaza (The White Lotus) and Nick Offerman (The Last of Us)—so if you’re a fan of any of them, you might get a kick out of seeing where they started.

The Wire (2002-2008)

If you watched House of Dynamite and enjoyed the movie’s level of research and detail, you’re gonna love The Wire. This is former Baltimore Sun reporter David Simon’s magnum opus, a show that left no stone unturned as it examined the inner workings of the city’s drug trade, unions, schools, newspapers and politics. 

For all that information, what made the series great was that it never forgot to be a gripping, funny and entertaining TV show—and if you like some of the other great shows from that golden era (think The Sopranos or Mad Men), you’ll want to check it out.

The Diplomat (2023-)

We’ll end our list with a series that’s still ongoing. Over three seasons now, with another on the way, Debora Cahn’s The Diplomat has been exploring the often invisible world of foreign policy through the life of a diplomat (played by Keri Russell) who is unexpectedly appointed as U.S. ambassador to the UK.  

Russell has already been nominated for two Emmys for her portrayal of Kate Wyler in the show, and if you appreciated the actress’s stellar work over six seasons of The Americans, you’ll easily get into this one.

Considering how the show’s hero might behave, it would be wrong to say that anyone is excited for the second half of Wednesday Season 2, so let’s just say that fans will be somewhat interested to find out what happens. Following the dizzying success of the first eight episodes in 2022, Jenna Ortega’s second run as the character is such that it’s probably difficult for some viewers to remember a time when anyone else played the role—but they did.

Ortega herself has been nothing but respectful towards the performers who came before her, so let’s take a moment to do the same. Listed below, with consideration for lasting power and cultural significance, we’ve ranked every on-screen version of Wednesday Addams. 

Honourable Mention: Karina Vadadi (2022-present)

Along with rejigging the character for a new generation, Wednesday actually brought in two stars to play the role. Jenna Ortega (more on her later) is obviously the star, but Karina Vadadi (who was nine years old during the shoot) did an admirable job playing the younger Wednesday in Chapters I and VI of the show. 

Vadadi isn’t given a huge amount to do (hence the mention), but she brings the right kind of attitude—enough to suggest that Wednesday has been herself since the day she was born. 

8. Noelle Von Sonn (1973)

The least well-known actor on this list is so obscure that you will struggle to find a clip of her online. 

In 1973, Von Sonn played Wednesday on “The Addams Family Fun-House” for ABC, a musical variety show pilot written by Jack Riley and Liz Torres, who also starred as Gomez and Morticia, respectively. There is so little information available about this show, it’s practically impossible to say anything about Von Sonn’s performance, but the Lost Media Wiki page does have the only surviving promotional picture, in which Von Sonn looks agreeably emo—as nobody would have said at the time.

7. Cindy Henderson (1973)

The first cartoon version of The Addams Family started life as a crossover with Scooby-Doo. The first episode to feature them involved Scooby and the gang being asked to babysit Wednesday when their van breaks down outside the Addams’s house. This proved popular enough that the producers at the beloved Hanna-Barbera animation house decided to give the family their own show.

This incarnation of Wednesday hasn’t quite got the deadpan insolence we’ve come to expect from the character, but Cindy Henderson’s voicework was perfectly commendable. The actress continued to work in television after the show’s fondly remembered 16-episode run, appearing in series like Bewitched and The Brady Bunch. The show itself is probably only essential for Addams Family completists.

6. Chloë Grace Moretz (2019-2021)

The most recent animated Wednesday is 2019’s The Addams Family. She’s voiced by Chloë Grace Moretz, who broke out in the industry for her profanity-laden turn in Kick Ass when she was still just 12 years old. I have the feeling that, had anyone decided to reboot The Addams Family at that time, Moretz would have surely been first in line for the part. 

As it happened, she had to wait until 2019 to play the character among a starry voice cast that included Finn Wolfhard as Pugsley, Snoop Dogg(!) as Cousin Itt and Oscar Isaac and Charlize Theron as Gomez and Morticia. 

The movies weren’t a huge hit with critics, who bemoaned the lack of macabre fun that defined the show, but it was a big enough success at the box office to justify its relatively successful sequel. This one is probably best described as a Wednesday for younger audiences.

5. Nicole Fugere (1998-1999)

Coming in the wake of two iconic early ‘90s incarnations of the character was never going to be easy for Nicole Fugere, but the actress put her own spin on Wednesday for The Addams Family Reunion, a direct-to-video movie that spawned The New Addams Family TV show. 

Fugere is as monotone and sarcastic as the best Wednesdays, but also brings a campy energy to the role—somewhat thanks to her big, arching eyebrows. That physical trait makes her a good match for the similarly-browed Tim Curry, who plays Gomez in the movie but, like every cast member except for Fugere, didn’t return for the show. 

If you like slightly goofier versions of the characters (or you simply like Tim Curry in general), the movie is worth seeing, but the show is probably not so essential.

4. Debi Derryberry (1992-1993)

When Hanna-Barbera decided to revive (every pun intended) their animated show in 1992, they offered the role of Wednesday to Debi Derryberry, a voice actor who has since gone on to have a remarkable career. Across 350+ credits, Derryberry has worked consistently for Disney, PlayStation and Studio Ghibli, but is probably best known as the voice of Jimmy Neutron. 

For this early ‘90s Gen-X era version, Derryberry’s Wednesday has all the requisite attitude that fans of the character have always loved. As she explains in this delightful video, her Wednesday is monotone and goth, as all good Wednesdays should be. With respect to the others, it’s probably the definitive animated version.

3. Jenna Ortega (2022-present)

It probably seems like the safest bet ever now, but surely not even the bean counters at Netflix could have imagined the immediate cultural impact that Wednesday would have in 2022. 

As it turned out, former Disney star Jenna Ortega was an inspired choice for the role: the actress stays faithful to the character while bringing a different kind of energy, certainly enough to strike a chord with Gen-Z viewers.

Ortega’s Wednesday became one of the biggest sensations of 2020s TikTok thanks to an iconic dance sequence—which she allegedly performed while recovering from COVID-19. The actress has gone on to cement her place as a budding scream queen, with roles in Ty West’s excellent (again, all puns intended) X as well as two Scream movies and the Beetlejuice sequel. 

2. Lisa Loring (1964-1966)

This was a close call next to Ortega (though one I think she might agree with), but it would be wrong not to give props to Lisa Loring for being the first screen incarnation of the character. 

The Addams Family originated as a single-panel cartoon in the New Yorker magazine before being optioned by an ABC executive in the early ‘60s. The resulting show, simply titled The Addams Family, offered a different tone to the happy-go-lucky ‘60s sitcoms of the day and was an immediate and unlikely hit.

Watching clips of Loring now, it’s amazing how much of what she brought to the role still reverberates in more recent performances: the drab delivery, the straight-faced sadism, the cool indifference. It’s not necessary to revisit all 64 episodes, but “Wednesday Leaves Home,” the 25th of the second season, laid the foundations for future incarnations to build on.

1. Cristina Ricci (1991-1993)

This was really a no-brainer. Is it too much to say that Wednesday was the role Cristina Ricci was born to play? You could certainly make the argument—it’s been reported she even ad-libbed some of her most famous lines. 

Ricci impressed opposite Cher and Winona Ryder in Mermaids in 1990, but director Barry Sonnenfeld presumably didn’t have to think too much before offering her the role opposite Anjelica Huston (Morticia), Raul Julia (Gomez) and Christopher Lloyd (Fester) in his 1991 reboot. 

The first movie, The Addams Family, was generally liked by both critics and audiences at the time and is still widely appreciated today, but the sequel, Addams Family Values, especially Wednesday’s trip to Camp Chippewa, her rivalry with Cristine Baranski’s Becky Granger and Joel Glicker’s (a young David Krumholz) endearing attempts to woo her, is nothing short of iconic. 

Addams Family Values is the essential Addams Family movie and features the essential Wednesday performance, hands (or hand—sorry, Thing) down.

If you sat someone down in 2001 and told them that Brendan Fraser was about to effectively disappear for the best part of two decades before coming back with a movie directed by Stephen Soderbergh, another by Martin Scorsese, and another that wins him an Oscar, that person would have rightly laughed you all the way to Cairo. (And that’s without even mentioning what his co-star, the Scorpion King, is currently up to.) 

These days, the bandages are wrapped around the other head, with Fraser so back that news of his potential casting, alongside Rachel Weisz, in a planned sequel to The Mummy Returns feels like low-key trolling. 

Disregarding all of the above, if another Mummy movie is to happen, and is done with some degree of TLC, I will actually be first in line.

Why We Actually Need This Unnecessary Mummy Sequel

Just two weeks ago, I felt a strange but powerful urge to revisit Ron Howard’s trilogy of Dan Brown adaptations—The Da Vinci Code (not bad), Angels & Demons (better than you remember, and possibly deserving of a credit on Edward Berger’s Conclave) and Inferno (regrettably, not the best)—and that urge came before two wiley men in high-vis jackets decided to skip the lines at the Louvre and go through the front window. Was it the draw of watching a bumbling history teacher whose ability to solve medium-difficulty anagrams proves enough to charm the likes of Felicity Jones and Audrey Tautou, or was I just craving a kind of movie that Hollywood doesn’t seem to know how to make anymore?

Last year, Steven Spielberg passed the reins of the Indiana Jones franchise to James Mangold, who owns two of the safest hands in the business, but as much as I enjoyed watching The Dial of Destiny, not a sliver of that film’s plot has stayed with me. This year, the biggest globe-trotting adventure on offer, Guy Ritchie’s Fountain of Youth, was a $180 million turkey. Is there any reason to believe that a Mummy threequel will be any better? 

It’s foolish to bet on anything even resembling a Hollywood cash grab, but there are reasons for optimism. For one, The Mummy is being reincarnated by Matt Bettinelli-Olpin and Tyler Gillett—the filmmaking team behind the excellent nuptial hunt movie Ready or Not and for making two additions to the Scream franchise (numbers 5 and 6) that even the late Wes Craven might have been proud of. 

What Needs To Happen For A New Mummy Film To Work

News of this reboot comes eight years after Universal‘s last attempt to breathe life into the franchise. That movie, which starred Tom Cruise, was a rather mercenary attempt to connect the IP to their wider Dark Universe gamble—and no, I haven’t seen it either. If Bettinelli-Olpin and Gillett are going to avoid the same pitfalls, a few things will have to be carved, hieroglyph-style, into the walls of the studio’s storied backlot. 

The baseline demand should be that The Mummy 3, like its predecessors, is shot on location, which was basically the only saving grace of Ritchie’s Fountain. The second is locking down not only Weisz and Fraser, but some of the supporting players as well—just imagine how great it would be to see John Hannah dust off that white linen suit for one last adventure? Lastly, and this might be the biggest ask, but they’re going to need the script (which is being written by David Coggeshall) to actually deliver some semblance of wonder. 

Why We Should Be Optimistic After Failed Mummy Sequels

For all the flak that Howard’s Dan Brown movies took upon release, even Inferno, the least effective of the trilogy, still delivers the pulpy, page-turning narrative propulsion of its source material. You can say the same for the hugely enjoyable National Treasure movies, which were just as trashed by critics upon release but are now widely considered to be perfectly endearing entertainments. 

To put it briefly, what we don’t need is lore and Dark Universes; what we need are reliable MacGuffins that get our heroes from A to B, some tricky dramatic obstacles along the way, and some nicely choreographed action sprinkled on top. Is that so much to ask? 

The chemistry between Weisz and Frasier (both of whom Universal can and should announce with big, decadent lettering that says “Academy Award Winner”) will look after itself; just don’t forget to give them a reason to be where they need to be. If that’s in place, audiences will stop wondering whether or not this movie is necessary and simply be happy to come along for the ride. 

It’s always nice to stumble across a movie you’ve never seen before, especially if it’s something fun and uplifting. But now and again, you inadvertently discover a movie that’ll absolutely break your heart and leave you with a sense of existential dread… Doesn’t that sound wonderful?

In the past, you’d find these unheard gems in your local Blockbuster. More recently, you’d see them pop up on your Netflix library. Now, Gen Z gets all of its recommendations by scrolling through TikTok, obviously, and that’s where a bunch of folk have been introduced to the quirky 1986 animated movie When the Wind Blows.

It may look like a good old-fashioned, 2D animated treat, but this film goes to some incredibly dark places, and it’s left TikTok users absolutely destroyed emotionally.

What When the Wind Blows Is About (And Why It's SO Tragic)

The ‘80s film is based on a graphic novel from legendary British illustrator and storyteller, Raymond Briggs. You’ll know him for his iconic work on the likes of The Snowman, Father Christmas, and Fungus the Bogeyman.

However, this story is nothing like those loveable tales. When the Wind Blows focuses on Jim and Hilda Bloggs, an elderly couple who find themselves dealing with an impending nuclear attack. Sadly, the information they’re getting from the government and their own outdated methods of survival are not quite as effective as they might hope.

As the film goes on, it becomes clearer and clearer that something is seriously wrong with our adorable and unassuming protagonists. And let’s just say Jimmy T. Murakami’s tragic cartoon does not pull punches when it comes to depicting Jim and Hilda’s struggles.

If you’ve ever seen the truly terrifying Threads or Studio Ghibli movie Grave of the Fireflies,  you’ll have a good idea of the devastating tone When the Wind Blows adopts. It’s a brilliant film, but my word, it’s unfathomably bleak.

Why When the Wind Blows Is Depressing TikTok Audiences

Aside from the obvious sombre tones of When the Wind Blows – seriously, you’d have to have a very cold heart not to be affected by this film – there is a reason this has resonated with younger audiences on social media in this modern geopolitical climate.

Young people today are living under increasingly intense and hostile conditions. Many of them perceive these to be created and upheld by older generations who appear to have very little understanding or care for the long-term impact of their decisions. Millennials, Gen Z, and Gen Alpha feel they have been forced to inherit what many would consider a broken world, thanks to Gen X and Boomers.

In many ways, though, it’s not entirely those older generations’ fault. Your average person from those eras has lived through terrifying, unprecedented times, and through it all, reliant on what their government tells them, and little else.

This is underpinned by what TikTok user @anotherbadsalad says about Jim: “He doesn’t think it’s going to be that bad, and that’s why neither of them takes it that seriously. That’s because both of them lived through World War II, but they were children at that time… they have an almost infantilised view of what the war was like… Jim doesn’t understand the gravity of what is going to happen; that mutually assured destruction is going to happen.”

It’s this naivety and blind adherence to ‘the rules’ that is Jim and Hilda’s undoing, and, arguably, that’s what strikes a chord with the more cynical minds of young people today.

As @anotherbadsalad adds, “[Jim and Hilda] believe that everything will go back to normal… someone will come and help… Jim says that tomorrow everything will get better.” They conclude their analysis by saying, “It’s a sad, cautionary tale about two normal people… who suffer the aftermath of what’s happening around them; something they have no control over.”

Users like them see this every day around the world: ordinary people impacted by external circumstances and decisions made by people they’ve never even met. In their view, it’s a world built by people still living in the past. How are future generations ever going to be able to move forward?

What’s really unsettling for modern viewers is that we are able to see how things went so drastically wrong for the characters in the film, and compare it to how little things have changed in the real world since the time of the film’s release. 

Another TikTok user dissects the movie, saying: “Jim and Hilda do what they’ve always done: Follow instructions. Keep calm. And wait for the all clear. But this isn’t the 1940s… There’s this really strange horror in watching people calmly prepare for the end of the world, and doing it all wrong. The sad thing is, it’s not because they’re reckless; it’s because they have far too much trust.”

Right from the start, we know this is not going to end well for our protagonists. It’s inevitable and obvious from the outside, but isn’t that always the case? We have the benefit of hindsight, of knowing how this story can and has played out in the real world. Sadly, Jim and Hilda don’t have that luxury. All they can do is grin and bear it, and hope that the unthinkable remains just that: a frightening figment of the deepest, darkest corner of their imagination.

How to Watch When The Wind Blows

When the Wind Blows is not available on any streaming services, but you can rent it on Prime Video for £3.49, and you really should. It’s a harrowing watch, and not something you’ll revisit in a hurry, but it’s also essential viewing if you’re keen to better understand the fears of a generation who endured the constant threat of nuclear destruction.

The Star Wars fandom was stunned to learn recently that we were incredibly close to seeing Adam Driver return to the franchise in a new movie about Ben Solo. But as exciting as that sounds, the news was bittersweet and the anticipation short-lived, as it turns out Disney does not want to move ahead with the project.

As one of the key figures in the sequel trilogy and one of the most popular characters we’ve ever seen in the Star Wars movies, it feels like a no-brainer that this idea would quickly have made its way to the big screen.

However, while films like The Mandalorian and Grogu and Shawn Levy’s Ryan Gosling-led Star Wars: Starfighter prepare to fly into our lives from a galaxy far, far away, The Hunt for Ben Solo remains grounded… at least for now.

What We Know About The Ben Solo Movie Pitch

The news of the proposed project first broke in an Associated Press interview with Adam Driver, in which the actor shared plenty of details to get tongues wagging.

Tentatively titled The Hunt for Ben Solo, this was essentially two years of Driver’s life that went into shaping the project with the help of acclaimed director Steven Soderbergh, whom he first took the idea to.

On the development, Driver said: “I always was interested in doing another Star Wars. I had been talking about doing another one since 2021. Kathleen [Kennedy] had reached out. I always said: With a great director and a great story, I’d be there in a second. I loved that character and loved playing him.”

It sounds like he found both those elements – and then some. Set after The Rise of Skywalker, the story rested on the idea of Ben Solo completing his redemption arc after the disappointment of Episode IX.

Soderberg and screenwriter Rebecca Blunt pitched the idea to Lucasfilm chiefs, who were sold. In came Scott Z. Burns, who previously wrote the Driver-led movie The Report, to pen the script, which resulted in what Driver described as “one of the coolest f—ing scripts I had ever been a part of.”

However, that’s when the project hit a Disney-shaped bump in the road. Driver added: “We presented the script to Lucasfilm. They loved the idea. They totally understood our angle and why we were doing it. We took it to Bob Iger and Alan Bergman, and they said no. They didn’t see how Ben Solo was alive. And that was that.”

Ben Solo Needs Closure From Another Star Wars Film

When Kylo Ren was introduced in The Force Awakens, I was awestruck. I know you’re not supposed to root for the villains, but from the moment he ransacked the village of Tuanul on Jakku, I couldn’t help but feel we finally had a character who could rival Darth Vader as the most badass in the Star Wars franchise.

He then goes on such a fascinating and surprising character arc in The Last Jedi. His moral compass and dedication to the Dark Side are tested by the shining light of Rey, proving he was far more than just a Vader fan boy. This was a rich, nuanced, layered character who had the potential to either be gloriously redeemed or to burn it all to the ground in a defiant fit of hatred. Either way, we looked set for a phenomenal ending to the Skywalker Saga.

Unfortunately, the divisive Rian Johnson film well and truly tore the franchise apart. As a result, Disney was left second-guessing what its audience wanted from the sequel trilogy closer rather than delivering what the characters deserved. Kylo Ren’s turn to the Light Side in The Rise of Skywalker ultimately boiled down to him fighting and defeating the Knights of Ren, sacrificing himself for Rey, and fading away into dust, all while having one single, useless piece of dialogue (I’m not even sure saying ‘Ow’ really counts as a line…).

The Rise of Skywalker is, without a doubt, the most disappointing experience I’ve ever had in a cinema. It should have been the crowning glory and the fitting end to my all-time favourite movie series, and instead, it made me wish Disney had never bothered. In my eyes, the Skywalker Saga ends at Episode VIII.

Ben Solo deserved better, and Disney now has the perfect chance to make up for it. So why are they fumbling the ball?

Disney Passed On a Golden Idea By Saying No To a Ben Solo Film

One thing has become glaringly obvious in the wake of this revelation from Driver, and that is that fans would have turned out in their droves to see this.

While the trailer for The Mandalorian and Grogu still hasn’t hit 10 million views on YouTube at the time of writing, we’ve already seen the fandom unite to form petitions, create fan-made trailers, and even arrange for a plane to fly over Disney Studios with a message reading, ‘Save the Hunt for Ben Solo. '

At a time when Disney doesn’t seem to have its finger on the pulse as to what fans want, it’s ironic that the House of Mouse was quite literally handed a golden ticket, and they tore it up and tossed it out.

The Hunt for Ben Solo could well have been one of the best Disney Star Wars projects to date. Instead, it’ll have to remain a figment of our imagination – unless Adam Driver can perform some Jedi mind tricks on Bob Iger and Co..

After reaching their commercial heyday in the rough period between The Blair Witch Project and the Paranormal Activity series, found footage horror films have largely fallen out of vogue. That hasn’t stopped indie powerhouse Neon from throwing its weight behind Shelby Oaks, however, a movie combining found footage, documentary, and standard narrative storytelling for an ambitious hybrid of scare tactics. It debuted at 2024’s Fantasia Fest before hitting theatres in time for Halloween 2025.

The film follows a woman’s (Mia) search for her sister (Riley), who went missing over a decade ago while investigating the abandoned town of Shelby Oaks for her YouTube channel, Paranormal Paranoids. With elements of low-res analogue technology and folk horror, as well as shades of slasher and haunted house tropes, Shelby Oaks isn’t wholly successful at the many things it tries to do, but still delivers some genuinely jumpy moments and sustained chills. It’s also had an unconventional journey to the big screen that’s worth digging into.

Shelby Oaks Started as a 'Real' YouTube Series

Shelby Oaks is the brainchild of YouTube film critic Chris Stuckmann, who had been producing content on the platform for a two-million-subscriber-strong audience for about 10 years when the film, which he wrote and directed, was picked up by Paper Street Pictures in 2021.

Proof of concept already existed in the form of ‘actual’ Paranormal Paranoid videos, in which Riley and her team explore Shelby Oaks and eventually disappear under very sketchy circumstances. The feature version is described as a “continuation” of this web series, which, styled to look like it was made 12 years ago, will be nostalgic to those who grew up watching YouTube’s ‘golden age’ of pioneering creator content. In this regard, it could be the very first YouTube horror film, or at least, the first that likely wouldn’t exist without the juggernaut video-sharing site.

This origin is reminiscent of Blair Witch again, which used a famously innovative online marketing campaign to make audiences wonder if the film really was a documentary. However, while Blair Witch did this to drum up anticipation for the film’s release in 1999, Shelby Oaks achieved its groundswell of public interest before it was ever made.

Shelby Oaks Was Entirely Funded Through Kickstarter

For independent creators and established companies alike, Kickstarter has become a lifeline for all manner of creative pursuits. Chris Stuckmann certainly found that to be the case when lost funding and strike action prevented production on Shelby Oaks from starting in 2021. Turning to the crowdfunding platform in early 2022, Stuckmann’s impassioned plea to his YouTube audience helped raise three-quarters of its $1 million budget in a matter of days, which was a record for a horror movie. It hit $1.4 million within a week.

“We can already make the movie in the way we want to,” Stuckmann thanked backers. “Thank you, thank you, thank you. Two big studios have reached out to read the script.”

Shelby Oaks Is (Sort Of) Inspired By Real Events

Whether there’s any truth in the film’s depiction of the paranormal depends on your personal beliefs about such subjects. What is very personal and true, however, is the real-life inspiration Stuckmann drew for the emotional core of Shelby Oaks: two sisters estranged by forces beyond their control. 

In a 2021 video uploaded to his YouTube channel, in which he also came out as pansexual, Stuckmann opened up about growing up in the Jehovah’s Witnesses, from which he and his sister were eventually ostracised. As well as claiming the group forced him to repress his sexuality and interest in filmmaking, the creator also characterised them as cult-like. Knowing this, and without giving too much away, if you’ve seen Shelby Oaks, this underpinning – and Stuckmann’s traumatic experience – is bleakly clear.    

Mike Flanagan’s Important Connection To Shelby Oaks 

To horror aficionados, Mike Flanagan needs no introduction. His films in the genre include Ouija: Origin of Evil and Doctor Sleep, and in TV, Netflix’s Hill House anthology, Midnight Mass, The Midnight Club, and The Fall of the House of Usher. Suffice to say, he’s a big cheese in this world, so his involvement in Shelby Oaks is a huge boon.

Beyond just name-brand recognition as an Executive Producer, Flanagan had a preexisting relationship with Stuckmann, a casual friendship that was struck up following the YouTuber’s review of Flanagan’s debut feature, Oculus. When Shelby Oaks’ Kickstarter campaign launched, Flanagan offered notes on the script as well as an early cut of the film. Stuckmann called the filmmaker’s help a “blessing”, while Flanagan praised the up-and-comer’s “DIY attitude and determination”, which he said was reminiscent of his own journey to create opportunities in the industry for himself rather than wait for them. 

Following Flanagan’s assistance, Neon, which had just made a splash with Osgood Perkins’ debut, Longlegs, starring a frightfully unrecognisable Nicholas Cage, came on as distributor. With enough industry weight and public interest behind it, Shelby Oaks finally made it to the big screen, hopefully allowing Stuckmann a less arduous road to getting the many other horror scripts he says he’s written made.  

Pack that suitcase, feather that quill, and continue feeling iffy about J.K. Rowling, because HBO are about to make good on their bold decision to take Harry Potter fans, and the rest of the world, back to Hogwarts. 

It’s been 14 years since the last movie opened, an event that effectively closed out a saga that an entire generation grew up with, and which many young people still do. That it’s taken this long for a reboot (just consider how many Spider-Men there currently are) is a testament both to the strength of those movies and how protective many of us still are of them.

With filming now underway – for a planned release in 2027 – on the first of the show’s seven seasons (one per school year), things are quickly falling into place. Given that the movies practically hired 90% of the best British and Irish actors of their generation, many of whom seem irreplaceable in their respective roles, the most curious questions have been around the show’s casting process. This unenviable job fell to casting directors Lucy Bevan and Emily Brockmann (Barbie, The Batman), who, from at least a surface level, have already done a fine job. 

Let’s take a look through them all and, wherever possible, discover where we’ve seen these actors before.

Dominic McCloughlin, Arabella Stanton and Alastair Stout as Harry, Hermione and Ron

The most important roles have, of course, been given to newcomers. Dominic McCloughlin will play Harry, Arabella Stanton will play Hermione, and Alastair Stout will play Ron. 

Mark Mylod has been quoted as saying that the casting call (which asked for people aged between nine and 11) received applications from “tens of thousands of children,” so congrats to these three. We wish all the best. Naturally, we’ve not seen them anywhere before.

One to watch: It’s the first role for Stanton and Stout, but fans eager to see McLoughlin (alongside Nick ‘Hagrid’ Frost, who we’ll get onto next) can catch him in the movie Grow, which premiered at the Edinburgh film festival in August 2025. 

Nick Frost as Hagrid

The task of filling the late Robbie Coltrane’s presumably enormous shoes has been given to Nick Frost, the similarly beloved star of Spaced and the Three Flavours Cornetto trilogy. Outside of those early projects with his close friend Simon Pegg, Frost has appeared in fan favourites such as Dr Who, while loaning his craggy voice to everything from Tintin to Star Wars: Skeleton Crew. We can imagine him saying the lines. We can imagine him on a motorbike. This one seems like a win!

One to watch: For something recent and bearded, Nick’s appearance as Gobber the Belch in the recent live-action adaptation of How to Train Your Dragon should provide some clues.

John Lithgow as Albus Dumbledore

Another make-or-break choice. The role of Hogwarts’ beloved headmaster is mostly associated with the Irish luminaries Richard Harris (who passed away after filming The Chamber of Secrets) and Michael Gambon (who left us in 2023). Interestingly, Jude Law is the only Englishman to take the role so far, having played him in Fantastic Beasts: The Secrets of Dumbledore. The role now falls to an American for the first time, though Lithgow won raves (and awards) for his portrayal of Winston Churchill in The Crown, so we don’t expect anyone to kick up too much of a fuss. 

The New Yorker broke out in Harry and the Hendersons and 3rd Rock from the Sun, but is now more known as one of the most beloved character actors, appearing in everything from Interstellar to Rise of the Planet of the Apes. 

One to watch: His recent performance as the conniving Cardinal Tremblay in Conclave should give fans an idea of how the actor looks wearing a robe, and in similarly cloistered surroundings.

Paapa Essiedu as Snape

Some of the online responses to Paapa Essiedu’s casting as Snape have been as predictable as it is atrocious. Sane people, thankfully, can’t wait to see what the I May Destroy You breakout does with a character that the late Alan Rickman once made his own. Like Rickman, Essiedu cut his teeth at the Royal Shakespeare Company before moving into film and television with roles in Black Mirror, Black Doves and more recently opposite Saoirse Ronan in The Outrun.

One to watch: I May Destroy You. It’s never a bad time to recommend Michaela Coel’s phenomenal show. 

Anton Lesser as Garrick Ollivander

Top-notch roles get the most, not the lesser? Not quite. Garrick Ollivander didn’t get a huge amount of screen time in the original movies, but the great John Hurt made every scene count. The role has now fallen to Game of Thrones alum Anton Lesser, who seems perfectly cast as the master wandmaker. 

One to watch: Lesser always brings the stench of menace to his performances, most recently as Major Partagaz in the simply unmissable Andor.

Janet McTeer as Minerva McGonagall

Another iconic role that will forever be associated with a beloved and sorely missed actor. When we think of Professor McGonagall, we think of Maggie Smith and her unique blend of no-nonsense deliveries and motherly warmth. Now, it’s up to Janet McTeer to fill those shoes. 

McTeer was probably at the height of her fame in the late ‘90s and early ‘00s, with her role in Tumbleweeds being acknowledged with a Best Actress nomination at the Oscars. Younger viewers will be more familiar with her role as Edith Prior in the Divergent series and her appearance as Walters in the latest Mission: Impossible. 

One to watch: Albert Nobbs, which Rowling presumably dislikes and for which McTeer received her second Oscar nomination.

Louise Brealey as Rolanda Hooch

The Quidditch instructor, Madam Hooch, didn’t have much to do in the original movies, only appearing in The Philosopher’s Stone. This was apparently as much to do with the amount of ground the movies had to cover as a pay dispute that occurred between the studio and actor Zoë Wanamaker. Fair enough.

One thing people seem to agree on about the series’ episodic structure is that a lot more time will be given to the wizarding sport. This will presumably mean more screentime for Louise Brealey, which is great news to fans of Sherlock (in which she played Molly Hooper) and to anyone who’s been enjoying her unhinged performance as the mother to real-life sisters Kat Sadler and Lizzie Davidson in Such Brave Girls. 

One to watch: Look no further than Such Brave Girls. 

Lox Pratt as Draco Malfoy and Rory Wilmot as Neville Longbottom

With Tom Felton reprising his most famous role on Broadway, the job of taking on the role of the young Draco falls to Lox Pratt. Pratt is as much of a newcomer as the three central actors, but his casting as the antagonist, Jack, in a soon-to-be-released adaptation of Lord of the Flies does suggest that HBO are not the only one to have noticed the young actor’s ability to show a menacing glint in the eyes.

Another of the newcomers is Rory Wilmot, who takes on the pivotal role of Neville Longbottom. Wilmot is similarly fresh on the scene, but viewers can catch him in the soon-to-be-released Netflix miniseries Out of the Dust.

One to watch: nothing yet, but keep an eye out for the shows mentioned above.

Johnny Flynn as Lucius Malfoy 

The musician and actor Johnny Flynn has already worked in movies and TV for almost 20 years before inheriting the role of Lucius Malfoy from Jason Isaacs. In that time, Flynn has appeared in two movies by Olivier Assayas, played David Bowie in 2020’s Stardust and taken on the role of Dickie Greenleaf (once famously portrayed by Jude Law) alongside Andrew Scott in Ripley. 

One to watch: for haughty, low-key, Malfoyish arrogance, Ripley feels like the right place to start.

Bel Powley and Daniel Rigby as Petunia and Vernon Dursley

Bel Powley and Daniel Rigby will take over from the great Fiona Shaw and Richard Griffiths to play Harry’s long-suffering aunt and uncle in the new series. Powley broke out with a phenomenal performance in Marriane Heller’s The Diary of a Teenage Girl in 2015 before going a bit under the radar. Her most high-profile work since has been a recurring role in Season 1 of The Morning Show and a part in The King of Staten Island. Rigby, meanwhile, appeared in Season 2 of Black Mirror and in the underappreciated show Jericho.

One to watch: Diary of a Teenage Girl, in which Powley plays a 15-year-old, which makes her casting as Petunia a touch hard to process.

Katherine Parkinson as Molly Weasley

Katherine Parkinson is set to appear as Molly Weasley, the ever-benevolent mother of Ron, Ginny, Bill, George, and the rest. Parkinson is best known for her great comedic work opposite Chris O’Dowd and Richard Ayoade in The IT Crowd. Given that the show’s creator, Graham Linehan, has since shown similarly controversial opinions about trans rights as J.K. Rowling, don’t be surprised if the actor is asked to field more challenging questions by the press than some of her co-stars.

One the watch: Despite all the dispiriting things to come out about its creator, The IT Crowd still has a lot to recommend it. 

Bertie Carvel as Cornelius Fudge

Taking over from Robert Hardy as Minister for Magic, Cornelius Fudge, is Bertie Carvel, an actor who’s earned a reputation for playing larger-than-life characters. On stage, he won an Olivier Award for playing the villainous Miss Trunchbull in Matilda the Musical and a Tony for his portrayal of Rupert Murdoch in Ink. On screen, he appeared in Les Misérables and The Tragedy of Macbeth but is probably best known for playing Tony Blair on two seasons of The Crown.

One to watch: given the material, it’s gotta be The Crown.

Paul Whitehouse as Filch

The TV icon will take over the role played originally by David ‘Walder Frey’ Bradley. Whitehouse, who is probably still best known for The Fast Show and his many collaborations with Harry Enfield, will presumably give the Hogwarts janitor a more comedic spin. He will also presumably knock it out of the park. 

One to watch: For something more recent, try his portrayal of Mikoyan in Armando Iannucci’s The Death of Stalin.

With shows as varied as The Pitt, Task, Adolescence and The Chair Company once again proving that there’s still room for new ideas in the increasingly IP-focused landscape of prestige TV, 2025 has been a pretty good year for television. At the time of writing, 2026 looks set to provide audiences with the same wealth of variety, with returning favourites and exciting newcomers vying for our attention from basically the beginning of January. 

For the list below—which I’ve arranged by order of release date, with a few tantalising maybes thrown in at the end—I’ve decided to maintain that same mix of old and new. So, while I’m excited to see what will happen if and when shows like Rings of Power, Silo, 3 Body Problem, and The Night Manager return to our screens, the ten series I’ve listed have simply sparked my imagination a little more. Similarly, while I’m dying to see the next seasons of Shōgun, The Last of Us, and The White Lotus (not to mention a certain Boy Who Lived…), they all just feel a little more 2027 right now.

Read on to discover more about the most anticipated shows expected to release next year, and use the guide below to find (eventually) on services like BBC iPlayer, AppleTV, Netflix, Prime Video and elsewhere. 

The Pitt, Season 2

I tried to avoid adding too many follow-up seasons to this list, but in this and many other ways, The Pitt is a special case. Adolescence might have gotten all the hype for its one-take chapters, but The Pitt’s 15-episode single shift in a Pittsburgh emergency room structure (and yes, this one is for fans of ER) was no less formally daring. It was also nerve-shredding and heartbreaking in just the right ratio.

For all that, the bravest choice that creators R. Scott Gemmill and Noah Wyle took was creating a show in 2025 that wore its heart on its sleeve. Is it too much to expect that a second series released this fast can be anywhere near as good? I don’t see any reason to doubt them.

Release date: 8 January 2026

A Knight of the Seven Kingdoms

If TV release dates are to be trusted, prestige fans will only have to wait until mid-January for the first blockbuster HBO show of 2026. Yes, George R.R. Martin fans are set to once again balance feelings of excitement and rage with the release of A Knight of Seven Kingdoms: a prequel series starring newcomer Deter Sol Ansell as the young Aegon Targaryen opposite Peter Claffey as the titular hedge knight.

This is the third branch of the Game of Thrones television universe, and the story is set 100 years before the original books but after the ongoing House of the Dragon—and naturally, if you’re a fan of those, you’ll want to add it to your calendar. The latter will also return for its third season next summer, but after a few too many scenes of people talking around tables, it’s fair to say that Knight currently looks like the more exciting property. 

Release date: 18 January 2026

Wonder Man

Our next IP mega show comes courtesy of the MCU’s somewhat flailing TV division. To be honest, it’s been a minute since one of these shows really hooked me in, but going by the trailer for Wonder Man, that might be about to change.

Helmed by Shang-Chi director Dustin Daniel Cretin, the show will follow a Hollywood stuntman (Watchmen’s Yahya Abdul-Mateen II) who gets superpowers after being exposed to an ionic ray (whatever that is). From there, the show will examine the impact of fame on a superhero in the world of Hollywood. With a vibe that kind of sounds like the MCU meets The Studio and featuring guest appearances from Ben Kingsley (reprising his iconic role as failed actor Trevor Slattery), this has the potential to be its own thing, which is not something we’ve said about an MCU show for a while.

Release date: 18 January 2026

Elle

Our first IP revival on this list comes from an unlikely source: the world of Legally Blonde. Yes, the beloved lawyer-in-pink Elle Woods, famously played by Reese Witherspoon across two hugely successful movies in 2001 and 2003, is said to be returning just two years after a failed attempt to bring the character back to the big screen—but naturally, if you’re a fan of the movies, be sure to keep an eye out for this one. 

The show is said to focus on a teenage Elle (played by Lexi Minetree) and will be set in a high school in the 1990s—so expect plenty of Clueless era outfits and retro fun.

Release date: Unconfirmed, but everything points towards summer 2026.

Lanterns

The next mega-budget IP show that’s been firmly inked into our calendars is the first new TV project of James Gunn’s DCU (and yes, that Peacemaker technically originated before Gunn was elevated to his current role). Whatever the case, the show will attempt to do what numerous filmmakers have so far failed to accomplish: providing a satisfying central story arc for the Green Lantern—or any of them, for that matter.

The series will, of course, bring back Nathan Fillion’s Guy Gardner from Gunn’s Superman alongside Kyle Chandler as the experienced Hal Jordan and Aaron Pierre as John Stewart, the up-and-comer—and if you liked the actor’s performance in Rebel Ridge, you’re probably as excited as I am to see what else he’s capable of.

Release date: nothing confirmed, but we can expect this one to arrive sometime after Supergirl premieres on 25 June 2026.

The Boys, Season 5

The only other repeat offender we’ve included on this list is the latest season of The Boys. I’ve done this as, aside from being one of the most consistently entertaining shows of the last six years (think Watchmen meets Kick-Ass), this upcoming season is said to be the last.

That means that the stakes will be higher than ever for Butcher, Hughie, Starlight and Homelander—and I wouldn’t be surprised if one or more of them fails to make it out alive. Almost nothing has been said about the series at the time of writing, but if leaked set photos of Homelander in an internment camp are anything to go by, it looks set to be as topical as ever. 

Release date: Unconfirmed, but the middle of 2026 seems likely.

Crystal Lake 

Set in the world of Jason Voorhees’ Friday the 13th, Crystal Lake is not what you would call an original idea. That said, it’s one of only three slasher franchises (after Scream and A Nightmare on Elm Street) to attempt the switch to the small screen, so I must say I’m nothing if not intrigued. The show will be the latest series from indie powerhouse A24, so expect a good deal of style along with the slashing. 

Linda Cardellini is set to star as Pamela Voorhees in what looks like a prequel to the original movie. The show is also being developed by Welcome to Derry creator Brad Kane, who (fun fact) started his music career and famously provided the singing voice for the original Aladdin.

Release date: Unconfirmed, but 2026 seems likely.

Neuromancer

If it gets released in 2026, the AppleTV+ adaptation of Neuromancer deserves to be one of the most hotly anticipated shows of the year. For good reason, no one in their right mind has ever managed to turn William Gibson’s hugely influential sci-fi novel into a movie or TV show—which makes me all the more intrigued to see what series creators Graham Roland (Dark Winds) and J.D. Dillard have in store.

Gibson’s book, which follows a superhacker named Case, is widely regarded as the cyberpunk bible—so if you like The Girl with the Dragon Tattoo or The Matrix, a movie heavily inspired by it, you’ll want to add this one to your list. 

Release date: Nothing confirmed for just yet, but late 2026 looks possible. 

First Day on Earth

I’m not entirely sure what to take from the fact that Michaela Coel has largely gone off the radar since the release of her phenomenal 2020 series I May Destroy You—except to say that if ever there was a show that might require its creator to take a break after, it is probably that one. Whatever the case, since then, she’s appeared in just Wakanda Forever and a single episode of Mr and Mrs Smith.

That could all be about to change next year with the release of Steven Soderbergh’s The Christophers and David Lowery’s Mother Mary—but the real Coel heads will know that First Day on Earth is the one to watch out for. Much like I May Destroy You, this ten-part series (which has been executive produced by Jesse Armstrong) was written and directed by Coel and also stars her—this time as a British novelist who moves to Ghana to reconnect with her estranged father. All I can say is: Banger incoming. 

Release date: Again, nothing announced yet, but here’s hoping.

Threads

We’ll end our list with more of a hopeful one than a sure thing. In April 2025, it was announced that Warp Studios, the legendary music label and producers behind Adolescence, had optioned the rights to remake the iconic 1984 show Threads, which followed the aftermath of a nuclear attack through the eyes of people in Sheffield. 

This impossibly dreary show was originally aired as a kind of PSA to make people aware of what an incident like that could really look like, but it’s since become a cult classic in its own right. Now, with fears of nuclear war as high as ever (think A House of Dynamite), it feels like an incredible time to revisit it or, perhaps more likely, reimagine it for the present day.

Release date: 2027 almost feels more likely, but with the success of Adolescence, the studio might feel emboldened enough to get this one done sooner.

It’s never a bad time to check back in with The Devil Wears Prada, a movie I’d happily watch any time of the day, any day of the week. Even for a viewer with the fashion sense of a palaeolithic cave dweller, everything about it is pure pleasure: from Lauren Weisberger’s quicksilver dialogue to the enticing world the movie creates to—for want of a better word—all that stuff. 

With images from the sequel’s New York shoot already being pored over like etchings on the Rosetta stone, we’ve decided it’s high time to check back in with the original’s cast to see who’s stayed in style and who, with the greatest respect, has become a bit last season. So if you’re feeling a bit blue (or is it cerulean?) about having to wait until Spring 2026 for Part Two to arrive, join us on a trip down memory lane and use the guide below to find some similar movies from The Devil Wears Prada’s constellation of stars.

Anne Hathaway

You won’t find anyone here claiming that The Princess Diaries is not a movie for everyone, but in the interest of narrative, let’s agree that Anne Hathaway made ‘the jump to mature roles’ around the time of Brokeback Mountain in 2005. Prada came one year later, cementing the 24-year-old actress’s place on the Hollywood A-list. 

Hathaway’s career since has been a fascinating story in and of itself: despite balancing her output between glossy, big-money crowd-pleasers (Bride Wars, One Day) and more auteur-centred movies (for the likes of Cristopher Nolan, Nancy Meyers and Jonathan Demme), Hathaway couldn’t shake the weird feeling around her performative acceptance speech at the 2012 Oscars. Thankfully, those days feel like ages ago now and the actress, after widely acclaimed performances in The Idea of You and Armageddon Time, has never been more respected. 

One to watch: plenty of options, but nothing feels more Prada than Nancy Meyers’ The Intern. Irresistible comfort food.

Meryl Streep

Streep had already won two of her three Oscars when she took the call to play Miranda Priestly, but you could easily make the case that it’s her definitive role. Interestingly, 20th Century Fox decided to campaign her for Best Actress in a year when she could easily have won Best Supporting. Her 28 minutes of screentime would have made her more than eligible, but of course, that would have made zero sense. Priestly, in many ways, is the movie, and Streep makes every second count.

The years since have been as fruitful as the ones before, with a further seven Oscar nominations, including a win for The Iron Lady, great movies like Spielberg’s The Post and Gerwig’s Little Women, and the hugely successful Mamma Mia! movies.

One to watch: for pure emotion, just try not to cry while watching The Bridges of Madison County. For Meryl turned up to 11, look no further than Mamma Mia!

Emily Blunt

Rounding out the storied central trio is Emily Blunt, who had only just made her debut in My Summer of Love mere months before landing the role. Legend goes that Blunt was about to leave for the airport—and was dressed in flip flops and a hoodie—when she dropped in to film her tape. She also spoke with her own clipped British accent despite the character being written as American. Of the 100 or so who auditioned, Blunt nevertheless landed the role and went on to basically steal every scene.

Blunt’s career has only gone from strength to strength, landing roles in Sicario and Into the Woods, earning an Oscar nom for Oppenheimer, and even getting to play Mary Poppins. She also married John Krasinski and co-starred in his hugely successful directorial debut, A Quiet Place.

One to watch: again, the options are plentiful, but we have to go for Blunt essentially reprising her role as Emily Charlton to play Miss Piggy’s receptionist in The Muppets.

Stanley Tucci

Everyone’s favourite Hollywood foodie is said to have only signed on to play Nigel Kipling a mere 72 hours before his first appearance on set. Tucci’s career had been on an upward trajectory in the years leading up to The Devil Wears Prada, landing supporting roles with esteemed filmmakers like Steven Spielberg (The Terminal) and Sam Mendes (Road to Perdition), but his performance as Andy’s friend and confidante introduced the now beloved actor to a much wider audience.

The years since have been similarly kind. When not slurping pasta in a picture-perfect Italian osteria, Tucci was landing roles in everything from tentpole franchises (The Hunger Games, Captain America) to major awards movies (Spotlight, Conclave), even picking up a nomination for Best Supporting Actor for The Lovely Bones in 2009.

One to watch: plenty on offer, but it has to be his reunion with Meryl Streep in Nora Ephron’s lovely Julia & Julia.

Gisele Bündchen

Of all the fashion world people who appeared in The Devil Wears Prada, none had quite as much to do as supermodel-turned-briefly-actress, and former Ms Tom Brady, Gisele Bündchen. As Serena, Bündchen does a fine job of offering withering looks to Andy’s outfits in earlier scenes before the two eventually become friends. 

Since that performance, Bündchen has only appeared sporadically on screen, focusing more on her astronomically successful modelling career, her philanthropic endeavours, and appearing in the opening ceremony of the Rio Olympics. 

One to watch: not much to go on here, so let’s say Taxi. 

Adrian Grenier

There’s nothing more 2006 about The Devil Wears Prada than the appearance of Adrian Grenier as Andy’s sometimes boyfriend, Nate—probably the most thankless role in the entire movie. Grenier had risen to fame as a stone-cold heartthrob after appearing in the Britney Spears-inspired film, Drive Me Crazy, in 1999.

Grenier was one year into his eight-season run on Entourage when he took on the role and, for better or worse, will always be associated with that HBO hangout show. Aside from that, Grenier has since tried his hand at writing, directing, and producing, while also appearing in several direct-to-video releases.

One to watch: Entourage. The unmistakably ‘00s show is enjoying a low-key renaissance for a reason.

Simon Baker

Simon Baker’s first appearance on screen, like most Australian actors of his generation, came on Home and Away. It didn’t take long, however, for Hollywood to take note. The actor got his big break when he landed a part in L.A. Confidential in 1997 and went on to work with celebrated filmmakers like George A Romero and Ang Lee before taking on the role (and the scarf) of Andy’s other squeeze. 

The actor’s career in the years since has been dominated by his lead performance in all 151 episodes of The Mentalist, but Baker has found time in his schedule for some big-screen roles.

One to watch: has to be his reunion with Stanley Tucci in J.C. Chandor’s wonderful Margin Call.

Rich Sommer

If your viewing habits are in any way similar to mine, you will find it physically impossible to look at Rich Sommer’s face and not think of Mad Men. Sommer was still two years away from that when he appeared as Nate and Andy’s corporate research friend Doug in The Devil Wears Prada. The role presumably helped him land that of the similarly befuddled Harry Crane in Matthew Weiner’s timeless TV show. 

Elsewhere, Sommer has largely stuck to similar roles in business-adjoining movies such as King Richard and Blackberry. 

One to watch: it’s hard not to say Mad Men, but for something a bit quicker, try the Social Network vibes of Blackberry.

Rebecca Mader

Somewhat similar to Sommer, to viewers of a certain age, Rebecca Mader will always be Charlotte Lewis, the no-nonsense cultural anthropologist who steals Daniel Faraday’s heart in the latter seasons of Lost. 

After moving to New York, Mader began her career as a model and appeared in sitcoms like All My Children before eventually getting a part in The Devil Wears Prada as an assistant editor with an unlucky taste for floral print. She’s gone on to appear in many movies and TV shows, with small roles in everything from Iron Man 3 to 30 Rock.

One to watch: It’s gotta be Lost.

You always know to expect the unexpected in a Yorgos Lanthimos film, and the Greek auteur's latest film, Bugonia, may deliver his biggest curveball yet. 

The movie is his fourth collaboration with actor Emma Stone, following The Favourite (2018), Poor Things (2023), and Kinds of Kindness (2024). Budgeted at $45-50 million, it’s also Lanthimos’ most expensive to date. That feels appropriate considering it’s the closest he’s come to a sci-fi picture thus far: Bugonia’s inciting incident, as revealed in trailers, is two conspiracy theorists – Jesse Plemons’ apiarist Teddy Gatz and his cousin, played by Aidan Delbis – kidnapping Emma Stone’s CEO Michelle Fuller, who they believe to be an alien.

What follows is a pitch-black comedy-drama inflected with gruesome moments of violence, dramatic irony, pathos, and magnetic performances from Stone and Plemmons. It all culminates in a rather surprising final twist, and depending on your view of the film’s muddled messaging, this ending may make the film or completely unravel it.

Bugonia’s Twist Ending, Explained

After the kidnapping, the film gradually reveals that Teddy’s mother, played by Alicia Silverstone, is in a coma caused by the pharmaceutical company that Michelle presides over. Teddy’s deep dissatisfaction with her meagre apology and compensation clearly fuels his accusation that Michelle is an alien emissary – an Andromedon, specifically – who must be contained and prevented from contacting her mothership.

After having her head shaved (something Stone actually did for real), being forced to smother herself with cream every day to prevent communication with her species, and suffering electroshock treatment, Michelle is unsuccessful in convincing Teddy of her humanity, or placating him with the ‘truth’ in hopes that cooperation will lead him to release her. 

As everything rushes towards a chaotic finale, Teddy distracts a local cop from uncovering the truth in his basement, while Michelle accidentally persuades his cousin to shoot himself. She extracts the key to her manacles from him to escape, but before leaving, discovers a hidden room filled with pickled body parts and a photobook of Teddy’s previous dismembered ‘subjects.’ With the true extent of his operation revealed, she confronts him with the real truth about the Andromedons: they were responsible for accidentally wiping out the dinosaurs and bioengineered humans as penance. The experiments on Teddy’s mother were part of a testing phase for the next stage of human evolution. 

She claims the plans are on her ship, and she can take Teddy there via a teleporter in her office. A flawed Teddy agrees, but when they get to the office, he reveals he’s wearing an armed bomb. He steps into the teleporter as she ‘activates’ it, and the bomb detonates, killing him and knocking out Michelle. This seemingly brings an end to the whole affair… Except that when Michelle awakens in an ambulance, she flees the vehicle, returns to the office, and does indeed beam up to her mothership, revealing she really is the Andromedon Empress.   

She and her fellow Andromedons decide that humanity isn’t worth sustaining or salvaging, and essentially pull the plug on us by popping a bubble over a model of a flat Earth. 

Why Bugonia’s Ending May Be Divisive

We spend the vast majority of the film assured that Teddy’s claims are conspiratorial nonsense, and while clearly intelligent, he’s unfortunately gone too far down the rabbit hole – addled by past sexual abuse and traumatised by his mother’s condition – to come back. On the backdrop of a widespread, even murderous, rise in anti-capitalist rhetoric, his grievances with Michelle won’t seem unfounded or unsympathetic to some, even if his actions are obviously unhinged, violent, and criminal.

For her part, Michelle’s situation is similarly sympathetic. Even a privileged Girl Boss doesn’t deserve to be robbed of their dignity and accused incessantly of being an alien in a stranger’s basement. However, though she does suffer, Michelle is never a helpless victim: she physically and verbally fights her captors at every turn, harnessing corporate negotiatory psycho-babble to undermine Teddy, specifically. 

In this light, Bugonia is at its most coherent when read as a snarky summation of our current communication problems: rationality vs. belief, fact vs. feeling, or truth vs. anti-truth. Both parties not only believe they know the truth, but that they are intellectually and morally superior to the other. It’s like watching a Facebook comment section play out in real-time. This is the core tension of Bugonia’s drama, and of the relationship between its two driving antagonistic forces. 

The reveal that Michelle really was who Teddy thought she was at the very end forces you to re-examine this theme. It pulls the vague environmentalism into sharper focus, as with the end of humanity comes the implied flourishing of other species – in particular, bees, famously endangered, and the only thing that really humanised Teddy. It also gives Teddy’s complicated existence more meaning, vindicated in his explosive death. In other words, there’s a silver lining to the nihilism. 

However, this sharp turn from a quirky but grounded comedy-drama into actual science fiction in the final few minutes will no doubt be jarring to most viewers – maybe even dismissed as a cheap bait-and-switch ending thrown in just for the sake of making things even more interesting.  It's hard to tell if the social and political commentary about our inability to understand each other and the divide between the haves and have-nots was the crux of the story, or if it was the existential warnings about ecological disaster all along.  Was Teddy actually a messed-up antihero?  Considering his horrendous crimes, it's an uncomfortable re-contextualisation.

Bugonia’s Ending Comes From Its Source Material

The basis for the story comes from the Korean film Save the Green Planet! (2003), and is pretty faithful to it, including the end twist. For that reason, we can neither solely applaud nor wholly blame Lanthimos – depending on your feelings – for it.  

Ari Aster signed on to produce the remake around the time of its early development in 2020. The director is notably credited with the most significant departure between Bugonia and Save The Green Planet! – changing the gender of the kidnapped character, opening the door for Stone to step into the role when Lanthimos joined the project. Gender-swapping characters doesn’t automatically alter their personality or behaviour, but the optics of two men holding a woman against her will for an extended period of time reads very differently than it does for a male victim. 

Interestingly, Save the Green Planet! writer/director Jang Joon-hwan credits Misery as inspiration, where the gender dynamic between abductor and abductee is reversed, as well as a surprising real-life source. “I remember liking Misery a lot when it came out, but it bothered me that [the Kathy Bates character] was just this crazy bitch,” he told The Village Voice while promoting the film. “I knew that I wanted to make a film about kidnapping, but I also knew that I’d have to come at it from the opposite direction. I’d have to take the kidnapper’s point of view. And when I came across this anti-DiCaprio website, claiming that he was an alien who was trying to seduce all the women on the planet in order to conquer earth, the two ideas seemed to fit.” In the early ‘00s, such crackpot theories were more novel. Nowadays, they’re positively pedestrian. 

As October creeps into November, certain things inevitably happen: the clocks go forward, the leaves fall, and the Internet becomes awash with end-of-year lists. The most fun of these, both to read and write, are not the roundups of what we’ve seen but the tantalising idea of what’s ahead: some of which we know a lot about; some of which don’t even have a name yet. 

For the following list of 2026 film releases—which I’ve arranged in ascending order of anticipation—I’ve opted to focus on “major” upcoming movies with relatively “set” release dates. This means things that haven’t premiered elsewhere: so, while all sorts of wonderful films from 2025 have yet to find their way to UK screens, and while a whole world of new movies will shortly begin their journeys from places like Sundance and Berlin, for now let’s stick to what we know.

Honorable Mentions

As ever with a list like this, there are just too many to mention, but for now, let’s say you can colour us variously intrigued by any of the following:

• Send Help  – a highly-promising-looking desert-island-romp from Sam Raimi, starring Rachel McAdams and Dylan O’Brien. 
• 28 Years Later: The Bone Temple – Nia DeCosta’s attempt to both put The Marvels behind her and build on Danny Boyle’s exceptional franchise reboot. 
• Wuthering Heights – Emerald Fennel’s rather thirsty-looking update on Emily Brontë’s novel, starring Margot Robbie and Jacob Elordi. 
• The Dog Stars – Ridley Scott’s first sci-fi movie in nine years. 
• Good Luck, Have Fun, Don’t Die  – Gore Verbinski’s first movie in a decade. 
• Focker In-Law – Ariana Grande and Skyler Gisondo join the cast for the fourth instalment in the Meet the Parents franchise. 
• Toy Story 5 – Woody and the gang apparently face their greatest threat yet: screentime. 
• The Mandalorian and Grogu – a feature spin-off of the popular series, still sure to draw a crowd despite a slightly goofy trailer. 
• The Hunger Games: Sunshine on the Reaping – Joseph Zada plays a young Haymitch Abernathy among a typically stacked cast. 
• Coyote vs. Acme – a James Gunn-written, Who Framed Roger Rabbit-style movie that, tantalisingly, almost didn’t see the light of day. 
• Supergirl – a Craig Gillespie-directed, Milly Alcock-starring DCU adventure. 
• The Devil Wears Prada 2 – the runway team reunites for fashion world fun and flashes of pathos. 
• Scream 7 – in which McKenna Grace looks set to enter Ghostface’s group chat.
• The Bride – yet another Frankenstein movie, this one with Christian Bale and Jessie Buckley—apparently doing their own version of Joker: Folie à Deux.

As ever, we wish them all the best!

10. Scary Movie 6

On to the biggies. This year’s The Naked Gun and Spinal Tap sequels might not have quite lived up to our expectations, but I must say it was a real delight to laugh in a crowded cinema again. Next year, we’ll hopefully get another chance to experience that feeling with Scary Movie 6, the hotly anticipated return of the Wayans brothers’ spoof comedy franchise.

One of the reasons I can’t wait to see it is that the last Scary Movie came out in 2013—in other words, when Jordan Peele was still a sketch comedian (Get Out was released four years later) and A24 was simply the name of a road from Clapham to Worthing. Expect the world of “elevated horror” to be firmly in the crosshairs in Scary Movie 6, in which Anna Faris and Regina Hall (who will possibly be coming in off the back of an Oscar nomination) are set to reprise their iconic roles. 

Scheduled release date: 12 June 2026

9. The Social Reckoning

As someone who watches The Social Network at least twice a year, I have generally regarded any rumours of a sequel with complete disdain. Among its many qualities, one of the best things about David Fincher’s film is that it leaves you wanting more—even in the best-case scenario, would a sequel not extinguish that delightful (and all too rare) feeling?

At the time of writing, I’m quietly confident that it won’t. This is mainly because the movie—which has neither Jesse Eisenberg, Andrew Garfield, nor David Fincher involved, not to mention the first movie’s iconic Harvard setting and Trent Reznor and Atticus Ross score—will look, feel and taste different enough for it not to matter. The Social Reckoning (which is being written and directed by Aaron Sorkin) is said to focus on the 2021 Facebook leak. Jeremy Strong (as Zuckerberg), Jeremy Allen White and Mikey Madison lead an undeniably formidable-looking cast.

Scheduled release date: Expect a premiere in Venice or Toronto before opening on 9 October 2026

8. Spider-Man: Brand New Day & Avengers: Doomsday 

Three or four years ago, if you told someone in Hollywood that a new Spider-Man or Avengers movie had a chance of making less than $1 billion at the box office, they’d probably laugh you all the way to LAX. In 2026, after a series of issues we simply don’t have time to go into here, that is very much the place where the MCU finds itself with Spider-Man: Brand New Day and Avengers: Doomsday. 

Naturally, next to nothing has been released about either plot. What we do know is that one is the fourth movie in Tom Holland’s reign as the webslinging hero—and while the actor is still beloved, he’s surely on the verge of ageing out of the part and moving on to more mature roles (more on one of them very shortly). The other (which is promising to bring both the original Patrick Stewart-generation X-Men and Robert Downey Jr. back into the fold) feels more like the MCU going back to the drawing board than the culmination of a years-long plan. We shall have to wait and see. 

Scheduled release date for Spider-Man: Brand New Day: 31 July, and for Avengers: Doomsday: 18 December 2026

7. How to Rob a Bank

If, like me, you feel that the world would be a better place if Hollywood delivered at least one starry heist movie (think Ronin, Inception, Now You See Me) each year, you’ll probably be delighted to hear that one is on the way in 2026—and it doesn’t even have “Ocean’s” in the title.

David Leitch’s How to Rob a Bank—which apparently focuses on a group of bank-robbing influencers—stars Zoë Kravitz, Nicholas Hoult, Pete Davidson, John C. Reilly and Christian Slater. The director, a former stuntman, might have some limitations when it comes to emotional depth and characters, but (as seen in John Wick and Deadpool 2), he certainly knows how to execute a set piece. 

Scheduled release date: 7 September 2026

6. Project Hail Mary

We’ll never know what might have happened had Phil Lord and Chris Miller been allowed to finish what they started with Solo: A Star Wars Story. That unfortunate incident aside, however, and I say with great confidence: These guys do not miss. 

If I’m being completely honest, the trailer for their upcoming movie, Project Hail Mary, in which Ryan Gosling plays a scientist who wakes up on a spaceship with amnesia during a potentially world-ending event, was not quite as funny as I’d hoped it would be. But if The Lego Movie, 21 Jump Street and Into the Spider-Verse are anything to go by (not to mention The Martian, the last movie adapted from an Andy Weir novel), we basically have nothing to worry about. 

Scheduled release date: 20 March 2026

5. Resident Evil

As someone who recently revisited all six of Paul WS Anderson’s wonderfully singular but largely terrible Resident Evil movies, I can’t say that news of another franchise reboot had filled me with much joy. That is to say, at least not before I heard that Zach Cregger was on board to direct it—and if you were a fan of Cregger’s breakout hit Barbarian or his 2025 smash Weapons, you should probably add this to your most anticipated list, too.

The movie is being co-written by John Wick alum Shay Hatten and is set to star Austin Abrams (who played the drug addict in Weapons) alongside beloved character actors Paul Waller Hauser (The Fantastic Four: First Steps) and Zach Cherry (Severance). There will, presumably, be blood. 

Scheduled release date: 18 September 2026

4. Untitled Alejandro G. Iñárritu film

It’s probably no accident that the logline for Alejandro G. Iñárritu’s as-yet-untitled latest movie, which stars Tom Cruise (alongside Jesse Plemons, Sandra Huller, John Goodman and various other beloved actors), sounds a bit like what ChatGPT would come up with if you asked it to write a Tom Cruise movie. This short synopsis reads thus: ‘The most powerful man in the world causes a disaster and embarks on a mission to prove that he is the saviour of humanity.’ 

Fans of Cruise (especially those who have celebrated his movie-star resurgence in more recent Mission: Impossible movies) have noted this casting with great interest—not since the early ‘00s (think Magnolia and Collateral) has the actor given himself over to a big-name auteur. Might Cruise finally win the Oscar that has eluded him for his entire career? Like anything with Cruise, you wouldn’t bet against him. 

Scheduled release date: Expect a Venice premiere before releasing wide on 2 October 2026.

3. Dune: Part Three

Dune: Part Three has the potential to be the greatest “two for you, one for me” movie of all time. The first two instalments of Denis Villeneuve’s gothic space opera covered the events of Frank Herbert’s first novel—an admittedly dense but ultimately satisfying narrative arc. This third instalment, which will feature Anya Taylor-Joy and Robert Pattinson alongside Timothée Chalamet and the rest of the returning cast, will likely be something else entirely.

Early word suggests that Villeneuve’s script—which takes place 12 years later and draws selectively from the source material (presumably leaving out the bit when Paul turns into a giant worm)—is phenomenal but potentially unfilmable. Sign me up. 

Scheduled release date: 18 December 2026, the same as Doomsday. Surely one will have to budge…

2. Untitled Steven Spielberg Film

The second yet-to-be-titled movie in our list comes courtesy of the great Steven Spielberg, a filmmaker who has been on a low-key roll these last few years. That said, while his last two movies (West Side Story and The Fabelmans) were beloved by fans and critics, neither one made a dent at the box office. 

His once world-beating talent for making bank is set to really be put to the test next year with his first sci-fi movie since Ready Player One and arguably his first “Spielbergian” sounding movie (it’s said to be about UFOs) since War of the Worlds. If that’s not enough to whet the appetite, it’s being written by Jurassic Park scribe David Koepp and will feature Emily Blunt, Colman Domingo and Josh O’Connor among the cast. I want to believe. 

Scheduled release date: An out-of-competition slot in Cannes could be possible before releasing wide on 12 June 2026. 

1. The Odyssey

How do you top a Best Picture-winning movie about one of the most significant figures of the 20th century that also somehow managed to pull in almost a billion dollars at the worldwide box office? 

There is a timeline in which Cristopher Nolan followed up Oppenheimer with something understandably in-betweeny (your Tenets, your Prestiges), but we are not living on that timeline. Instead, Nolan has decided to adapt The Odyssey and is apparently doing so with a reported $250 million war chest and basically every star actor on the planet. The rest of us will be seated. 

Scheduled release date: 16 July 2026

The battle royale is such a satisfying setup for a movie; it’s kind of surprising we haven’t seen more of them over the years. The concept is simple: drop a group of people in a secluded location, throw a few weapons and exploding collars in the mix, and let nature take its course. 

It’s an idea that dates back at least as far as William Golding’s 1954 novel, Lord of the Flies. These days, you can see it in everything from Squid Game to Fortnite. With Kinji Fukasaku’s Battle Royale about to celebrate its 25th anniversary and a new version of Stephen King’s The Running Man, directed by Edgar Wright, set for release very soon, what better time to look back at ten of the best movies to utilise the concept?

Read on to discover more about them and hit the guide below to find them on services like AppleTV, Netflix, Prime Video and elsewhere.

10. Battle Royale 2: Requiem (2003)

Granted, Battle Royale 2: Requiem had a mightily tough act to follow—but even with respect to the movie’s troubled production, the director, Kinji Fukasaku, died of cancer, having filmed only one scene, at which point his son, who co-wrote both movies, stepped in to complete it—it’s a hard one to fully rally for.

All that said, this is a wild curiosity and features surely the most batshit use of rugby in the history of cinema. What can we say: if you really love the first one, or similarly unhinged movies from the era (Miike’s Happiness of the Katakuris comes to mind), it’s probably worth checking out!

9. Death Race (2008) 

Journey to one of the weirder corners of film Reddit and you’ll probably find a bro posting an essay on why Paul WS Anderson is less a hack than a misunderstood auteur. I haven’t bought into that theory just yet (the truth is probably somewhere in the middle), but his 2008 movie Death Race certainly ain’t bad.

The movie reimagines Roger Corman’s 1975 exploitation classic Death Race 2000 as a kind of battle royale movie—and one with Jason Statham in the lead role. For the story, Anderson moves the action to a prison, where a group of inmates fight to the death to earn their freedom. This is pulpy, late-’00s trash, but with a distinctly dystopian flavour—imagine a mid-tier blend of Mad Max and The Hunger Games and you’ll know where to set your expectation levels.

8. Guns Akimbo (2020)

The most recent entry on our list is Guns Akimbo, a movie in which Daniel Radcliffe plays a video game developer who wakes up with guns bolted to his hands and a target on his head—and if that setup sounds like your kind of thing, this might be the one for you.

The movie has some vague things to say about the dark web (like many movies on this list, the fights are watched by paying customers), but it’s more of a wild ride than a satire—imagine a similar mood to movies like Nobody or Novocaine, and you’ll know what you’re in for. 

7. The Belko Experiment (2016)

As much as we love the originators, it’s great when a movie comes along with a new spin on familiar material. The Belko Experiment does just that, taking a battle royale setup but moving it to a building in Colombia where 80 American office workers (uniform white shirts and all) find themselves in a fight to the death. This is a sharply written, corporate-satire riff on the genre and features a surprisingly stacked cast—including David Dastmalchian, Adria Arjona and John C. McGinley.

The movie was directed by Greg McLean, the Australian horror filmmaker behind the brutal Wolf Creek movies, but, more interestingly, was written by none other than James Gunn—so if you like Gunn’s earlier work (think Slither, Dawn of the Dead), you’ll wanna check this one out.  

6. The Running Man (1987)

This one is a tiny bit of a cheat, as some people would say Stephen King’s The Running Man is more appropriately described as a cat-and-mouse movie. That said, there’s no denying its influence in the battle royale genre—certainly on plenty of movies on this list.

The 1987 original, directed by Paul Michael Glaser, stars the one and only Arnold Schwarzenegger as a soldier who gets locked up for not following orders. He then breaks out but soon finds himself fighting for his life on a brutal reality TV show. This is one for fans of late ‘80s Arnie—especially movies like Predator and Total Recall. Make sure to catch it before the new one comes out!

5. Series 7: The Contenders (2001)

Series 7: The Contenders just about pips The Running Man on this list as, even though it’s clearly influenced by it, the story adheres much closer to the key battle royale theme: ordinary, randomly-selected people, fighting against each other in a fight to the death. The twist is that it’s shot like a late-’90s reality TV show, giving a unique vibe to the brutal satire.

This inventive movie was the directorial debut of Daniel Minahan, the filmmaker behind the Deadwood movie, as well as the Jacob Elordi-starring On Swift Horses, so if you’re a fan of those, you might want to check it out.

4. The Hunger Games: Catching Fire (2013)

Catching Fire is the best sequel in the Hunger Games franchise and not just because it features Philip Seymour Hoffman—though of course, that certainly helps. The key reason, which really should be a no-brainer for the series, is that most of the running time is focused on what happens in the arena—something that later instalments often failed to do.

The movie sees Katniss return to the games to fight again, this time against a selection of past winners that includes Jena Malone’s Johanna Mason and Jefferey Wright’s Beetee. But of course, Hoffman’s Plutarch Heavensbee, a Gamemaker and a rebel, is the movie’s MVP—especially if you like seeing the actor in big-budget movies, like Mission: Impossible III.

3. The Hunt (2019)

The Hunt is another movie on this list that, like The Running Man, comes at the battle royale setup from a slightly different angle. In this one, a loose adaptation of Richard Connell’s The Most Dangerous Game, a group of regular people wake up gagged in the woods and soon discover they’re being hunted for sport. The odds, as you might have guessed, are heavily stacked against them—but with a little cooperation, they start fighting back. 

The movie stirred up some controversy upon release as it depicted the villains as liberal elites, but I think that built-in provocation only adds to the fun. This is a good old-fashioned exploitation movie, and if you like horror films where wealthy people behave badly and get their comeuppance (like Ready or Not or The Cabin in the Woods), you’ll want to check it out.

2. The Hunger Games (2012)

Adapting a wildly successful YA novel—especially one with a devoted fanbase—is always going to be a daunting task, but Gary Ross’s The Hunger Games was basically a home run: a movie that managed to achieve the unlikely feat of pleasing the converted while bringing in a whole new group of fans. 

Despite its PG-13 rating, this is a movie that fans of the battle royale genre immediately fell in love with—especially anyone who had enjoyed Jennifer Lawrence’s work in movies like Silver Linings Playbook and Winter’s Bone and wanted to see the actress in a franchise leading role.

1. Battle Royale (2000)

Last-man-standing stories, even ones with political themes, had existed in movies and literature long before Battle Royale came along, but Kinji Fukasaku’s masterpiece quickly blew them out of the water. This is a movie with a tremendous amount of style and subversive energy, not to mention a haunting subtext that still resonates today—there’s a reason why it’s still considered the pinnacle of the genre. 

Naturally, if you’re a fan of Squid Game and The Hunger Games, I can’t recommend it enough. The same goes for fans of Japanese horror from that era—think Audition, Ring, Ichi the Killer, and all those other dark classics. 

There’s nothing like a good psychological thriller. Whether it’s a cat-and-mouse hunt between detective and serial killer, or a character’s battle with their inner demons, this genre offers fertile ground to explore the murkier corners of the human mind, giving you a rush of adrenaline as you try to solve the puzzle before the truth is revealed.

The most recent addition, The Woman in Cabin 10, is based on Ruth Ware’s 2016 novel and stars Kiera Knightley as the journalist Laura "Lo" Blacklock. On assignment on a luxury yacht, Lo witnesses a passenger being thrown overboard, but no one believes her… because no one is missing. Lo must work quickly to prove what she saw was real, even as she becomes the killer’s next target. Her ability to think quickly and speak decisively makes her a compelling lead in this twisted mystery, and Knightly’s performance captures Lo’s simultaneous desperation and determination to find out what really happened. 

If you’ve already watched The Woman in Cabin 10 and are looking for more psychological thrillers featuring strong female leads, check out the list below and find out where you can stream in the United Kingdom.

10. The Woman In The Window (2021)

The Woman in the Window follows the story of Anna, a child psychologist who becomes agoraphobic after suffering a breakdown, and now spends her days popping pills, chugging wine, and watching her neighbours. 

When the Russell family move in across the street, Anna observes them go through their daily routines until one night she sees the matriarch, Jane, stabbed to death by her husband, Alistair. But when Alistair shows up with Jane—who is not the same woman Anna recognised—at the police inquiry, Anna’s story and grip on reality are thrown into question.

The Woman in the Window has a lot in common with The Woman in Cabin 10. Without getting into spoilers, both women witness a murder, and both have their experiences second-guessed by everyone around them, to the point of wondering if they’re going insane. Amy Adams’ performance as Anna is certainly the highlight of the film – her ability to make us sympathise with her character, even as we question her sense of reality, is a reminder of why she’s one of the greats.

9. The Girl With The Dragon Tattoo (2009)

Author Stieg Larsson's Millennium books served as the source material for a three-part Swedish film series that, in my opinion, is far more immersive than David Fincher’s 2011 English-language take. Noomi Rapace stars as the reclusive hacker Lisbeth Salander. In the first instalment, she teams up with controversial journalist Mikael Blomkvist to find out what happened to the niece of a wealthy industrialist who suddenly disappeared in 1966.

The Girl with the Dragon Tattoo and its sequels, The Girl Who Played with Fire and The Girl Who Kicked the Hornet’s Nest, create a darkly beautiful and harsh world. Rapace’s Lisbeth is simultaneously badass and extremely vulnerable, which left me both admiring her and worrying for her safety. Lisbeth and Mikael are equally complex, well-rounded characters, and the pace of their uncovering the truth while navigating their own personal struggles makes each film in the Millennium series enthralling, building to a deeply disturbing conclusion.

8. Copycat (1995)

Acting powerhouses Sigourney Weaver and Holly Hudson star in Copycat as Dr Helen Hudson, a criminal psychologist specialising in serial killers, and MJ Monahan, a detective inspector, respectively. After Hudson is almost killed by a serial killer after a lecture, she becomes agoraphobic and paranoid, but when a new copycat killer starts committing murders, MJ comes to Hudson for help solving the case.

Copycat is a tense ride the whole way through. From the suspenseful soundtrack to the brisk editing, the film maintains a good pace that keeps your pulse up. While the story at first glance is not that original, director Jon Amiel’s decision to change the script and make both protagonists women separates Copycat from the rest, offering a refreshing and sadly rarely seen perspective on violence against women, as seen by women. While Sigourney Weaver gives a predictably stellar performance as the strong yet traumatised Helen, it’s Holly Hudson’s MJ who really shines as the tough, multifaceted lead inspector.

7. Promising Young Woman (2020)

Promising Young Woman stars Carey Mulligan as Cassie, a medical school dropout living at home and working in a cafe. She lures predatory men in bars by day, confronting them with their misdeeds by night. It’s a fierce, gutsy film that takes the rape-revenge storyline in a provocative direction.

As Emerald Fennell’s directorial debut, Promising Young Woman certainly indicated an exciting career to come. After acting as showrunner and writer on Season 2 of Killing Eve, her next film, Saltburn, turned quite a few heads in 2023. Her upcoming adaptation of Wuthering Heights should be one of the cinematic highlights of 2026. 

Carey Mulligan’s complex performance as the disturbed Cassie gives the character both a power and a vulnerability that would have fallen apart in the hands of a lesser actress. While the film isn’t always an easy watch—especially the shocking ending—it does an excellent job of getting us to consider what justice and resilience really look like.

6. The Girl On The Train (2016)

Based on Paula Hawkins’ bestselling novel, The Girl on the Train revolves around Rachel, an unemployed woman with her own share of secrets who rides a train daily past a seemingly perfect couple. When the wife of the couple goes missing, Rachel finds herself entangled in a complex web of lies, secrets, and deception, and tries to uncover the truth behind what happened.

Emily Blunt’s Rachel might be grappling with her own inner demons, but her determination to find the truth—even as an unreliable narrator herself—makes for a compelling protagonist. The film has quite a few good twists and turns, and the fact that we cannot totally rely on Rachel for the truth makes it all the more captivating.

5. Black Swan (2010)

Director Darren Aronofsky's intense horror Black Swan follows Nina, a talented ballet dancer who wins the lead role in Tchaikovsky's Swan Lake. As she strives for perfection, Nina begins to experience disturbing hallucinations, increasingly losing her grip on reality. The film’s exploration of obsession, duality, and mental unravelling offers a harrowing portrait of artistic obsession and the destructive pursuit of perfection.

Natalie Portman’s masterful portrayal of Nina’s unravelling sees her personality divide into a meek, seemingly perfect self, and a ruthless and compulsive alter-ego. Her journey is a haunting reminder that strength isn’t always about fighting back—sometimes it’s about turning inward and reconciling with your own inner demons before it's too late. Portman’s gripping performance earned her an Oscar for Best Actress.

4. Gone Girl (2014)

Directed by David Fincher, Gone Girl delves into the mysterious disappearance of Amy Dunne and the ensuing media frenzy. As the investigation unfolds, secrets about Amy and her marriage to Nick come to light, revealing layers of deceit and manipulation. But as fingers begin to point at Nick, we find out all might not be what it seems, and the film’s twisting plot and sharp commentary on media sensationalism keep us questioning what is true and what is fabricated right up until the shocking conclusion.

Rosamund Pike’s Amy is complex, clever, and fiercely determined. She’s certainly not your typical damsel in distress – her wit and unwavering resolve make her stand out. Amy’s strength lies in her ability to manipulate perceptions and take control of her fate, even when things seem completely out of her hands. Although it’s over a decade old, Gone Girl remains a Fincher classic and one of the standout films in the genre.

3. Sharp Objects (2018)

Sharp Objects is based on Gillian Flynn’s novel of the same name, and follows Camille Preaker, a journalist who returns to her hometown to cover a series of brutal murders. As Camille delves into her past and confronts her own demons, unsettling revelations about her family surface.

With its dark atmosphere, complex central characters, and exploration of childhood trauma, Sharp Objects offers a chilling look at psychological scars and domestic horror. Amy Adams expertly brings Camille to life, highlighting that strength comes from honesty and the willingness to confront one’s own dark past, no matter how painful. 

Although it’s a miniseries, I decided to include it on this list because not only is it one of the most compelling psychological thrillers I’ve ever seen, but I binged all eight episodes in one day and found that it played more like one long film than a continuing series. 

2. Mulholland Drive (2001)

David Lynch’s surreal classic Mulholland Drive is a labyrinthine story of dreams, identity, and illusion set against the glitz and decay of Hollywood at the turn of the 21st century. Following an aspiring actress and an amnesiac, the film unfolds in a non-linear fashion, blending reality with fantasy in a way that leaves us questioning what is real. Lynch’s masterful use of symbolism and atmosphere makes Mulhlland Drive a mind-bending exploration of obsession and the darker side of desire.

Betty and Diane—both played brilliantly by Naomi Watts—are women caught in a Hollywood dream turned nightmare. Betty, with her innocence and optimism, shows a kind of quiet strength, while Diane’s complexity reveals that strength can also mean facing uncomfortable truths. While the full meaning behind Mulholland Drive remains as enigmatic as any Lynch film,  the women’s journey highlights how our internal worlds always contain both chaos and equilibrium. 

1. Silence Of The Lambs (1991)

Perhaps the most iconic female-led psychological thriller ever made, The Silence of the Lambs follows FBI trainee Clarice Starling as she seeks the advice of imprisoned cannibalistic serial killer Dr Hannibal Lecter to catch another sadistic killer. The intense interactions between Clarice and Lecter carry the story forward with sharp dialogue and moral quandaries, leading to a climax that remains gripping even on a rewatch.

Clarice Starling, portrayed by Jodie Foster, is an FBI trainee who refuses to be underestimated. Her intelligence, empathy, and determination are what make her a true heroine. Instead of succumbing to fear, Clarice faces terrifying circumstances head-on, showing that strength isn’t just physical—it’s mental and emotional, too. Anthony Hopkins’ portrayal of Lecter, meanwhile, remains timeless, and the film’s exploration of evil in human psychology continues to captivate audiences decades after its release.

When you think about a Christopher Nolan movie, the performances probably aren’t the first things that come to mind. That said, when the English filmmaker makes a statement about someone’s acting, people are always going to sit up and listen. 

Speaking at the DGA theatre in Los Angeles earlier this month, at a preview screening of Bennie Safdie’s The Smashing Machine (a movie that’s received lukewarm reviews and has sputtered at the box office), Nolan made headlines for going to bat for Dwayne “The Rock” Johnson. Here’s what the lauded director said about the wrestler-turned-actor, and why it’s significant.

What Christopher Nolan Said About Dwayne Johnson’s Smashing Machine Performance

Nolan said of Dwayne Johnson in The Smachine Machine: “I think it’s an incredible performance. I don’t think you’ll see a better performance this year or most other years.” Two things are worth noting about these comments. Nolan, who lives in LA, was recently voted president of the DGA (you can check the full chat on the DGA’s podcast), making this rare public appearance perhaps less noteworthy than it might seem. He was also there to support a colleague and friend—Safdie had a substantial role playing Edward Teller in Oppenheimer and even met Johnson’s Smashing Machine co-star, Emily Blunt, on set. And yet the weight of Nolan’s statement seems worthy of attention. 

Audiences haven’t worked out what to make of Safdie’s movie yet, a biopic of MMA pioneer Mark Kerr which forgoes most of what we expect from a combat sports flick—especially one about an underdog—in favour of a cosmic approach and a mood of pure introspection. Whatever its eventual legacy, for now it looks like a rare and expensive miss for A24, and an even rarer one for Johnson.

Why Nolan Might Be Right About The Smashing Machine

In that light, Nolan’s praise (he also called the movie “a really remarkable and radical piece of work that will be understood more and more over time”) must have sounded quite comforting to Johnson’s ear. The director has always coveted great actors as much as great actors have coveted the chance to work with him. Nolan can basically get whoever he wants these days, but he’s always had a knack for timing (think Chalamet and McConaughey in Interstellar; Keoghan in Dunkirk) and has shown, on more than one occasion, the strength of his convictions. Two actors have won Oscars after being directed by him: Cillian Murphy last year for Oppenheimer, but most famously, Heath Ledger (awarded posthumously) for The Dark Knight. Some readers might be too young to remember, but Ledger was a wildly unpopular choice for the Joker, and his casting drew no shortage of flak online in 2007—just imagine the kind of heat it would generate on the internet of today.

For a filmmaker of Nolan’s stature and abilities, Johnson’s decision to pivot his career (after the personal and financial disappointments of Black Adam) must surely have pricked up his ears. The director started casting The Odyssey in October last year. Had he begun a little later, is it so wild to think that Safdie would have recommended Johnson for a role? Could Nolan, as he sat there on the DGA theatre stage, have been dreaming up a future project for him? Whatever the case, we’ll have to wait and see where the actor goes from here, and whether an Oscar nomination in January is the end goal to this side quest or the beginning of something new. 

If he were to miss out, I think it would be a genuine snub. Writing about the movie back in Venice, I noted that that the most enduring images in The Smashing Machine come not from the ring or the cage, but from the moments when Johnson is out of his comfort zone—adrift on a Tokyo escalator or, even better, as he struggles to digest some apparent feelings of empathy towards the battered chassis and twisted fenders of a demolition derby. These are the kind of moments that elevate the admittedly flawed movie, at least enough to suggest that it will eventually find its people, perhaps when audiences start to consider the movie it is and less the one they expect it to be.

What The Smashing Machine’s Reception Could Mean For Dwayne Johnson’s Future

As Johnson (who starred in Richard Kelly’s Southland Tales) will know as well as anyone, critical reappraisal can come when you least expect it—and in the age of Letterboxd, it tends to happen a lot quicker than it used to. Rutger Hauer’s immortal performance in Blade Runner was famously misunderstood upon release—“mechanical” according to Variety; “the film gives him little dimension,” said The New York Times. Even the great Roger Ebert initially thought Hauer’s performance was “symbolic” before offering a rebuttal on the film’s tenth anniversary. “In Hauer’s Roy Batty,” Ebert wrote, “the film finds its tragic poetry. His final act is not one of evil but of grace, and his death elevates Blade Runner from a noir mystery to a meditation on existence.” 

I’m not here to suggest that Safdie’s film will ever be considered in the same breath as Scott’s masterpiece, but I do think some people will still be watching it and thinking about it in ten years. Moreover, whatever flaws it has, Johnson’s performance isn’t one of them—and I for one would be more than happy to see him continue to lend his talents, work rate and star power to movies of this scale and filmmakers this adventurous. At the time of writing, the actor has 12 upcoming projects listed on IMDb. These include new additions to The Fast & the Furious, Jumanji and Jungle Cruise franchises as well as the live-action remake of Moana. Look a little closer, however, and you spot Safdie’s next project, Lizard Music, and an in-development, Hawaii-set crime drama directed by none other than Martin Scorsese. When the dust has settled on The Odyssey, it might be Nolan’s turn to pick up the phone. 

Spooky season isn’t just for adults wanting to scare themselves senseless; it’s a time for the whole family to get together, eat lots of sweets and treats, and watch mildly horror-coded movies while pretending you can’t hear trick-or-treaters at the door…

The horror genre can obviously be more difficult than most to introduce to younger viewers. Go too deep into it and you’ll scar the kids for life. There are also plenty of films released around Halloween that are simply cheap and lifeless (great for a zombie, not so much for a movie).

Thankfully, I’m a bona fide expert on this very situation, as my young boys and teenage daughter are obsessed with all things Halloween-related. So, I’ve made them the guinea pigs for this experiment on what works and what doesn’t when it comes to quality, family-friendly horror movies to watch with your kids at this time of year. Read on for my top ten picks, listed in no particular order.

The Addams Family (1991)

They’re creepy. They’re kooky. They’re mysterious and spooky. The Addams Family quite literally does what it says on the tin, and it’s absolutely perfect if you’re looking for some gentle, entry-level horror. With oddball characters like Uncle Fester and Lurch and the general macabre vibes of the titular family, there are more than enough tricks and treats here to serve up the ideal Halloween watch for the whole family.

The recent animated interpretation of these characters lacked the spark and charm of this movie, but the 1991 hit (and its sequel) are brimming with life, somewhat ironically. When you’ve got big names like Anjelica Huston and Christopher Lloyd strutting their stuff on screen, it’s impossible not to enjoy this quirky family flick. The Addams Family is a proper crowdpleaser, and it’s suitable for all ages: my five-year-old son loves it, and so does my 15-year-old daughter, especially after getting into Wednesday lately.

Scooby-Doo on Zombie Island (1998)

I was incredibly close to including the 2002 live-action Scooby-Doo – written by James Gunn, no less – but then I remembered how brilliant Scooby-Doo on Zombie Island is, so putting this animated film on the list became a no-brainer. Not only does it capture the spirit of the original classic kids TV show, but it also has fresh energy, sublime visuals, and a thrilling feature-length story: The gang team up once more and head to Moonscar Island, where, after years of unmasking dastardly villains, they discover horrors like they’ve never seen before. 

It feels odd to say this about a cartoon, but I love the way the camera moves. There’s such a playfulness and verve to the whole production that you can tell those making it really care about the legacy of the character. It’s also surprisingly scary at times, considering it’s animated – but hey, that’s the point of Scooby-Doo, I guess. It’s so unsettling, in fact, that my son, who is not easily shaken, asked me to turn it off. So, I’d advise you to wait until the kids are at least six years old for this one.

The Nightmare Before Christmas (1993)

Is it possible to put together a list of family-friendly spooky movies without including The Nightmare Before Christmas? I wish I could go against the grain and leave this film off the list, but I simply can’t. It’s the absolute staple of that autumnal period from October through to December, and it’s an obvious choice for a reason. Is it a Halloween movie? Is it a Christmas movie? Honestly, it’s a perfect hybrid: Jack Skellington longs for something a little different to his normal Halloween celebrations and plots to take over Christmas instead.

While the spooky vibes are absolutely immaculate here, I’m pleased to say that The Nightmare Before Christmas is not scary at all. Even my two-year-old son has watched and enjoyed it. (Apologies in advance if your toddler does get traumatised, but I’d be very surprised...) While it’s not directed by Tim Burton (a common misconception), this Henry Selick picture has the legendary filmmaker's fingerprints all over it, so if you love films like The Corpse Bride, Beetlejuice, and even Batman Returns, you’re guaranteed to be enamoured with this one. Plus, it’s only just over an hour and a quarter in length, so it’s a very light commitment.

Monster House (2006)

Much like Scooby-Doo on Zombie Island, my son was a bit scared of Monster House. He was younger then, though, and now that he’s five, he’s embraced it as a must-watch around this time of year. It actually took me a couple of watches before I properly appreciated this movie, too. The animation style is a little jarring and rough around the edges at times, but when you really dig into the story at the heart of it, Monster House has a lot to say.

It’s a movie about two kids who essentially just want their basketball back from their creepy neighbour’s yard. The only problem is, Mr Nebbercracker has a living, breathing, demonic house. That may sound more like Poltergeist than a kids' animated adventure, but underneath it all, Monster House is a story about acceptance and the lengths we go to protect the ones we love. 

If you’re quick, you’ll be able to watch this on Netflix, but it leaves the streaming service after Halloween. After that, it’ll cost you a rental fee of at least £3.49, but I’d honestly say it’s worth it.

Coraline (2009)

I hate to typecast filmmakers, but Henry Selick is really, really good at making creepy stop-motion animation, isn’t he? Sixteen years after putting out perhaps the most perfect horror movie to watch with children, Selick did it again by crafting Coraline. It’s a tale of a young girl exploring her new home and discovering a secret door that hides twisted doppelgänger versions of her parents in the ‘Other World’. It’s visually stunning, incredibly clever, and genuinely traumatising. 

The fact that Coraline didn’t win the Oscar for Best Animated Feature is wild, but then again, it was up against the likes of Up and Fantastic Mr Fox. Still, it’s a bold and daring film that takes the audience to dark places, and if you’re willing to go there, it’s an absolute treat. You can catch Coraline on ITVX for free right now, but I would recommend saving this until your kids are at least nine or ten. It’s truly terrifying at times, but once they’re ready, it’s sure to become an annual tradition every Halloween.

The Witches (1990)

Like Coraline, I would suggest you don’t stick The Witches on until your kids are a bit older. Seeing the titular villains ripping off their disguises and hunting down children never gets easier to watch – it still makes me feel uneasy as an adult. But like most Roald Dahl stories, The Witches is still delightfully dark and highly entertaining, with Anjelica Huston once again embracing the spooky vibes as masterfully as she does in The Addams Family.

Don’t be tempted to go for the newer, shinier version of The Witches from 2020. The 1990 adaptation is full of magical, practical effects and that good, old-fashioned creative flair that modern movies so often lack. It’s wild that Nicolas Roeg, the man behind horror cult classic Don’t Look Now, was allowed to make a kids' film. Then again, given this is a story about a secret coven of witches planning to rid the world of children, it kinda makes sense that he was given the gig – and he knocked it out of the park, too.

Ghostbusters (2016)

This is a potentially controversial one. Yes, I know that everyone loves the original Ghostbusters movies, but if you’re really looking to get your kids into this franchise, the 1980s films starring Bill Murray and Co. are not the route to go down. Instead, you should introduce them to the hilarious Paul Feig version of Ghostbusters from 2016. After all, children don’t care about legacy or cult status; they just want a fun film about silly characters catching ghosts, and that’s exactly what you get from Kristen Wiig and Melissa McCarthy’s gang.

Here, four women join forces when supernatural incidents sweep New York City, thanks to a crazed occultist's attempts to rip open an interdimensional vortex and unleash ghastly beasts on the world. I took my daughter to see this at the cinema when she was eight years old, and aside from one or two slightly jumpy scenes, she absolutely loved it. So did I, and I’ll die on the hill that this is actually the best Ghostbusters movie of them all. If you like Bridesmaids and Spy, you should appreciate the fresh direction Feig steered the franchise into. Plus, it features an all-time great comedy performance from Chris Hemsworth, which sounds ridiculous to say, but I really mean it. It’s also an easy find on Prime Video at the moment.

Little Shop of Horrors (1986)

I did just say you’re unlikely to get kids these days to care about older films, but Little Shop of Horrors is timeless and universal. At its core, it’s a love story, as the introverted Seymour attempts to get the attention of his beloved Audrey with an unusual plant he discovers. Unfortunately, this plant has a taste for human flesh… 

The practical effects that bring the monstrous Audrey II to life still stand up today, and the film is such a fine balance of comedy, catchy tunes, and what I like to describe as ‘silly horror’. This Frank Oz classic is not at all scary, but I would still say it’s better suited for slightly older audiences – or at least more open-minded audiences – because the musical elements and romantic subplot could deter younger viewers.

Little Shop of Horrors is not available for free on any streaming service, so at the moment, it’ll cost you £3.49 to rent. However, if you’ve exhausted your typical Halloween movie options, this is well worth a gamble to freshen things up. In fact, recommending it now has got me eager to give it a rewatch – mostly for Steve Martin’s amazing turn as the evil dentist, Orin Scrivello; it is truly one of the best comedy cameos around.

Wendell & Wild (2022)

Netflix has produced some cracking animated movies of late, especially those of a darker disposition. I really liked Orion and the Dark, but it’s Wendell & Wild that gets my vote for this list. It’s a story of a young delinquent orphan who develops an unusual connection with a couple of demons from the underworld, unwittingly sparking a zombie uprising in the small town of Rust Bank. Wendell & Wild reminds me a lot of Cartoon Saloon films like Wolfwalkers and My Father’s Dragon – not so much in terms of visual style, but more for the fact that it’s a story of troubled childhood and mystical creatures. 

My inclusion of it makes this a hat-trick for Henry Selick, further cementing his status as the ultimate master in the realm of spooky movies for kids. It’s also produced by modern horror king Jordan Peele, and his involvement is far from superficial — you can really feel his tangible influence on the story and the stylistic choices in the film.

I’d say this is suitable for kids aged four and over; it’s slightly eerie and odd at times, but it’s not scary enough to cause any nightmares. It’s on Netflix, so it couldn’t be easier to find, and it’s a great option if you’re looking for a more modern, underseen gem.

Frankenstein (1931)

I know what you’re thinking… how on Earth could a black and white Universal horror movie that’s almost 100 years old be a suitable pick for kids at Halloween? But I have absolute proof that Frankenstein can be a winner. My daughter and I watched this together when she was nine years old, and she loved it so much that we watched The Bride of Frankenstein the next day. I couldn’t believe it, but with a story this good, James Whale’s outstanding visual flair, and Boris Karloff’s phenomenal turn as the iconic monster, who can blame her for buying into this classic tale?

We all know the story of Frankenstein – an eccentric scientist decides it’s a good idea to forge together human body parts he finds in a graveyard and is surprised when his creation turns out to be a little bit… odd. Frankenstein features some fairly violent and dark scenes that are likely too bleak for younger viewers. Additionally, you’d want the kids to truly appreciate the emotional themes at play, so it’s best not to show this to anyone younger than nine. There aren’t many adults who would invest their time in an old film like this, but it’s truly one of those movies that everyone should watch at least once, so why not start ‘em young? You’ll have to pay for the privilege, but if your experience is anything like mine, you’ll create memories to treasure for years to come.

If you’re anything like me, every Halloween you tentatively decide to join the seasonal fun and watch a scary movie… only to wind up spending the next two sleepless weeks checking under the bed for monsters. Many horror classics like Texas Chainsaw Massacre or The Exorcist are too terrifying for us sensitive souls. Luckily, there are plenty of not-so-scary films for the Halloween period that might raise a few hairs on your neck but won’t send you diving under the covers.

Whether you’re looking for a horror-comedy to laugh off the fear, a spooky historical adventure to send a gentle shiver down your spine, or a timeless classic with a few jump scares, there’s something on this list for everyone after a little thrill over the spookiest season, followed by a deep, sound sleep.

10. Shaun Of The Dead (2004)

Shaun of the Dead is without a doubt one of the best horror comedies of all time. Created by Edgar Wright and Simon Pegg, the film revolves around the aimless Shaun, in his late 20s, as he tries to get his life back on track and keep his loved ones safe while a full-blown zombie apocalypse unfolds around him.

While Shaun of the Dead has hilarious and handy quotes I have used on rotation for years ("Go to the Winchester, have a nice cold pint, and wait for all this to blow over"), it also has the bonus of simply not being that scary. While there are some well-timed jump scares and bloody mayhem when things kick off at the Winchester pub, the film never devolves into pure horror, making it a great salve for those of us still smarting after previous horror-watching attempts.

9. Young Frankenstein (1974)

There is perhaps no master of comedy greater than Mel Brooks, and his iconic Young Frankenstein is an excellent testament to his talents. A parody of author Mary Shelly’s classic horror novel Frankenstein, the film stars the brilliant Gene Wilder as the grandson of the infamous mad scientist. After inheriting his grandfather Victor’s Transylvanian castle and laboratory, the young Frederick Frankenstein continues his predecessor’s experiments, succeeding in creating a new Monster with the help of a bug-eyed Igor and the dour housekeeper, Frau Blücher.

Young Frankenstein is one of the least scary films on this list, and its slapstick routines and rapid-fire innuendo make it a comedy classic that still holds up today. From Wilder’s Frankenstein to Marty Feldman’s Igor, every actor brings their A-game, delivering a combination of great banter (Frankenstein: “You know, I'm a rather brilliant surgeon. Perhaps I can help you with that hump.” Igor: “What hump?”) and surprisingly touching moments (“Love is the only thing that can save this poor creature, and I am going to convince him that he is loved even at the cost of my own life”) making this enduringly funny film.

8. What We Do In The Shadows (2014)

Of all the comedies I have seen in my life, the bar was never set higher than by What We Do in the Shadows. This New Zealand mockumentary follows the everyday lives of vampire roommates navigating the modern world in Wellington. It’s a mishmash of domestic squabbles about whose turn it is to do the dishes, how to handle their devoted familiars, different approaches to feeding hygiene, and dealing with the local werewolf gang.

This film is perfect for the faint of heart because it defangs traditional vampire tropes and makes each character equally well-rounded and ridiculous. From Taika Waititi’s dandy Viago to Jemaine Clement’s sadistic Vladislav, What We Do in the Shadows shows us vampires are just like us—apart from the immortality and nocturnal bloodsucking. 

7. Zombieland (2009)

Combining action, comedy, and a quirky rules-of-survival guide, Zombieland is a fun ride for easily scared adults. In the film, a group of survivors navigate a post-apocalyptic world infested with the undead, enduring harrowing yet absurd situations as they make their way toward a supposed sanctuary at Pacific Playland.

The focus is on the relationships between the characters more than horror elements, and its playful tone and top performances from the great Bill Murray, Emma Stone, Woody Harrelson, and Jesse Eisenberg make it enjoyable without crossing the line into too-scary territory.

6. Beetlejuice (1988)

Tim Burton is responsible for creating some of the quirkiest family-friendly classics of the last four decades, and Beetlejuice is one of the most iconic of the lot. Set in a small Connecticut town, the film revolves around the Deetz family (Charles, his second wife, Delia, and his moody teenage daughter, Lydia) after they move into a new house. Little do they know, the house is still occupied by the ghosts of the previous inhabitants, the Maitlands, who hire the chaotic self-proclaimed “bio-exorcist” poltergeist, Betelgeuse, to help them drive out the Deetz family.

While Beetlejuice is technically a horror-comedy, there are no properly scary moments. In true Tim Burton fashion, the aesthetics are dark, and there is some creepy imagery (like when Beetlejuice turns into a slit-eyed snake), but overall, the film is more adventure than horror. Between the stacked cast—Michael Keaton’s iconic performance as Beetlejuice remains an enduring highlight—and raunchy jokes that land for adults but go right over most children’s heads, it’s a great Halloween watch for the whole family.

5. A Girl Walks Home Alone At Night (2014)

Set in a ghost town in Iran, A Girl Walks Home Alone at Night is a stylish vampire-Western that combines horror and neo-noir aesthetics as a mysterious girl stalks the streets alone…at night. Its cool, monochrome visuals and haunting soundtrack create a richly atmospheric, arthouse experience for those looking for a bit of culture in their Halloween selection.

It’s also ideal for those who want ghostly intrigue without intense violence or scares; A Girl Walks Home Alone at Night leans into mood and visual storytelling rather than blood and guts. Its slow-building and poetic atmosphere keeps the mood eerie without becoming overwhelming. As a bonus, the soundtrack selection is killer, and the scene where the girl puts on a vinyl of “Death” by White Lies is a sound-and-image combo that remains hauntingly imprinted in my memory.

4. Sleepy Hollow (1999)

Tim Burton’s gothic take on the classic Sleepy Hollow tale takes us back to the turn of the 19th century and to the small town of Sleepy Hollow, which is plagued by a murderous headless horseman. New York City police constable Ichabod Crane investigates the murders and finds a way to bring this supernatural entity to justice.

While the film definitely has some scary moments, its fairy tale charm makes it more spooky than terrifying. Between Johnny Depp’s performance as the bright but squeamish Crane, Christina Ricci’s bold heiress Katrina, and Christopher Walken’s antics as the Horseman himself, there’s a good amount of Burton-esque absurdity that diffuses the brunt of the horror. All in all, Sleepy Hollow is perfect for people who enjoy atmospheric horror with a whimsical edge, avoiding the brutal or gruesome in favour of mood, mystique, and fantasy.

3. Gremlins (1984)

If you’re in the mood for a classic 1980s Halloween horror-comedy, Gremlins is exactly what you’re looking for. When suburban father Randall brings home a cute, mysterious creature as a gift for his son, the only rules to follow are not to feed it after midnight, and not get it wet. Of course, the inevitable quickly happens, and the little mogwai turns into a chaotic, mischievous troublemaker before it begins to multiply.

Gremlins is a family-friendly horror, and while I was a bit freaked out the first time I saw it as a little kid, its slapstick tone makes it much more of a fun adventure with some thrilling and gross moments (the blender!) than anything else. There’s also an equally delightful sequel, Gremlins 2, which is perfect for the Christmas season.

2. Hocus Pocus (1993)

No list about non-scary Halloween films would be complete without my all-time favourite, Hocus Pocus. This witchy extravaganza stars the iconic Bette Midler, Sarah Jessica Parker, and Kathy Najimy as the Sanderson sisters, three Salem witches condemned to death in 1863, only to be resurrected by an unsuspecting teen on Halloween night.

While I found Hocus Pocus plenty creepy as a kid (especially when the undead Billy cuts out his mouth stitches, ew), as an adult it’s all about the mix of comedy, adventure, and over-the-top performances for me. From Bette Midler’s theatrical cover of “I Put a Spell On You” to the Sanderson sisters’ delight when meeting a man dressed as Satan, Hocus Pocus is full of iconic moments that elevate it to must-watch status on many Halloween lists. 

1. Ghostbusters (1984)

While Ghostbusters is proudly ‘80s in both aesthetic and vibe, its wit and originality have made it a timeless classic. The film revolves around a team of eccentric scientists who start a ghost-catching business in New York City, leading to fun and/or scary supernatural encounters as they round up the devious dearly departed. With its blend of humour, charm, and spectral encounters, it’s a lighthearted take on the supernatural that keeps things fun while still containing some slightly scarier moments.

Ghostbusters is a great watch for those who want to get a few goosebumps, but not full-on night terrors. Featuring goofy ghosts (the iconic Slimer), witty banter between the Busters, and some truly marvellous performances from Sigourney Weaver as a possessed woman living in a duplex, and Rick Moranis as a similarly possessed schlub doing her bidding, Ghostbusters is the perfect film to watch if you want a little supernatural thrill washed down by plenty of laughs this Halloween.

Here’s my one simple rule for all cinephiles in October: you absolutely must watch horror movies and horror movies only all the way up until Halloween. Often, folks will watch the same classic, frightening films year after year, but some crazy souls out there like to mix it up and try new things.

Whatever way you like to organise your Halloween movie viewing, this list will help you keep your finger on the pulse – and if there is no pulse, perhaps you’re hanging out with zombies! Here are ten of the most popular and most terrifying horror movies that JustWatch users have been watching lately, sending them soaring up our streaming charts.

30 Days of Night (2007)

Finding a vampire movie that breaks the mould can be difficult. Bloodsuckers tend to live by a pretty strict rulebook, so you’ll often be stuck with cliches. 30 Days of Night really offers something fresh and exciting, though. The film is set in a sleepy, snowy Alaskan town where the sun quite literally doesn’t come up for… You guessed it, 30 days. It’s a movie that bursts at the seams with frenetic energy, violence and gore.

Josh Hartnett is the hero of the hour, but it’s villainous turns from Danny Huston and Ben Foster that really stand out here. 30 Days of Night climbed as high as number 18 on the JustWatch streaming chart this month, and yet it still feels like an underseen, underappreciated gem among modern vampire movies. If you’re looking for something sub-two hours and easy to access, this one is on Prime Video now, and I’d say it’s right in the sweet spot of being scary without being traumatising.

Nosferatu (2025)

Nosferatu is one of the best horror movies of 2025. In fact, for me, it’s right up there as one of the best films of the year, period. I was absolutely stoked to see this when I first heard Robert Eggers was putting his own spin on the iconic story, and he did not disappoint at all. Nosferatu is visually stunning, deliciously dark, and crammed with star talent like Nicholas Hoult and Willem Dafoe. But it’s a surprisingly brilliant performance from Lily-Rose Depp and a bone-chilling portrayal of Count Orlock by Bill Skarsgard that steal the show.

If you like what Eggers did with The Witch, or if you’re a fan of films like Crimson Peak and Bones and All, you’ll really relish sinking your teeth into Nosferatu. The film jumped up to number 23 on our charts in the last week, and it’s a great option if you want something new and fairly universal. You’ll either need a Sky Movies package or rent the film elsewhere, but it’s a price worth paying.

It (2017)

It comes as no surprise that this classic Stephen King story just keeps on rising through the JustWatch streaming charts – peaking at the top spot. It was a huge hit when it first hit cinemas in 2017, and the Andy Muschietti flick actually delivered one of my favourite-ever moviegoing experiences. Aside from Avengers: Endgame, I can’t recall a theatre so full of people buzzing about one film; once I was seated, there were screams and jumps aplenty throughout. I’m not usually one for a reactive screening, but it worked a treat for this one.

If you’re tired of waiting for more Stranger Things, I’d say It fills that void perfectly with a brilliant combination of fun adventure and a foreboding undertone; a cracking choice for all audiences of an appropriate age – it’s scary, sure, but in an exciting way. You’ll either need Sky Movies for this one, or you could rent it for the bargain price of £1.99 on Apple TV. You may also want to save some time to watch It: Chapter Two after, although I think that you can just watch the first film and still be satisfied.

Scream (1996)

We all know Wes Craven is a horror master. Between A Nightmare on Elm Street and the Scream franchise, the legendary filmmaker has got Halloween covered, but we’re not here to talk about Freddy right now. No, it’s the original meta horror, Scream, that’s been making waves on our streaming chart in the run-up to October 31st. This is such an iconic movie: not only has it spawned five sequels to date, with another on the way, but it was also the blueprint that the Scary Movie franchise initially riffed off of, too.

The playful nature of Scream and the tantalising mystery at its heart have stood the test of time, with audiences still frantically theorising about Ghostface’s identity (or often, identities) each time a new entry is released. Revisiting the original is at the top of my Halloween movie plans this year, and it’s the ideal kind of film to watch with a group of friends, too. It’s available on Paramount Plus, or you can watch for free on BBC iPlayer.

Halloween (1978)

From one horror master to another, it’s time for John Carpenter to get in on the action here. Just like the Scream franchise, the aptly titled Halloween has become a pillar of the spooky season, and there are now a whopping 13 films in the series. Admittedly, the quality of each instalment varies wildly; the rebooted Halloween of 2018 was fantastic, but its sequels were real misfires, while the less said about Halloween: Resurrection, the better…

Still, the original Halloween is a real classic. From the chilling music to Carpenter’s wonderful use of shadows and jumpscares, down to Jamie Lee Curtis’ kickass turn as the ultimate final girl, this ‘70s flick is brimming with dread and style in equal measure. If you’re into films like The Texas Chain Saw Massacre or Suspiria, you’ll love seeing Michael Myers stalking his prey in Halloween. Catch it on Shudder now.

Barbarian (2022)

If you’re looking for something to really surprise you this Halloween, I’d say Barbarian is your best bet on this list of streaming chart hits. It’s from Zach Cregger, who you may recall blew all our minds with his new movie, Weapons, earlier this year. Frankly, I think Barbarian is more creepy, fun, and altogether better. The film is split into three chapters, which include an unsettling performance from Bill Skarsgard (yes, that guy, again), a hilarious turn from Justin Long, and a balls-to-the-wall finale that’ll knock your socks off.

It’s those kinds of films, where the director takes a massive swing, that I always appreciate the most. If you enjoyed movies like Men, Malignant, or Longlegs, you’ll be firmly on board with what Barbarian is doing. I watched it with my fiancée, and she enjoyed it, which says a lot as she is not normally into any kind of horror films. Plus, it’s only 103 minutes long and is available on Netflix, so it really couldn’t be easier to tick this one off the list.

Bone Tomahawk (2015)

From the absolutely bizarre to the completely brutal: Bone Tomahawk is not for the faint of heart, that’s for sure. Don’t be fooled by the Western setting and Kurt Russell’s exquisite facial hair; this S. Craig Zahler film is far from generic and very, very nasty. I’m not particularly squeamish at all, but there’s at least one moment in this film that had me wincing.

Clearly, I can’t in good conscience recommend this to anyone averse to gore and violence, but if you’re just looking for a horror movie that isn’t going to scare you witless, this could be the one. Bonus points for having a wonderful cast, including Russell, Richard Jenkins, Patrick Wilson, and Matthew Fox. You can easily find Bone Tomahawk on Prime Video.

The Shining (1980)

The Shining is one of my all-time favourites. Arguably the most iconic and famous film on this list, it brings me great pleasure any time I get to rave about any Stanley Kubrick movie. Saying that, I made my teenage daughter watch this recently, and she was not a fan, so bear that in mind if you’re looking for a formative experience with your child this Halloween… For anyone who’s not averse to watching an ‘older’ film, though, The Shining has to be a staple at this time of year.

Jack Nicholson’s performance is right up there as one of the very best anyone has ever given, and every time I watch The Shining (which is abnormally often), I spot something new and exciting in the intricacies of his portrayal of the murderous Jack Torrance. If you’ve seen the film before, just watch it again and revel in the madness of the Overlook Hotel. If you’ve never seen it, and if you enjoy films like The Lighthouse, Get Out, or simply have a penchant for Stephen King stories, this is one you will fall in love with.

The Thing (1982)

The Thing just keeps climbing our charts. Every time I see it creeping higher and higher, I smile with glee at the thought of more people watching this phenomenal John Carpenter body horror for the first time. I saw this one as well with my daughter this year, but I’m delighted to say that, unlike The Shining, it was a winner for her. It was a real treat to see her reactions, discuss her theories, and explain the wonders of practical effects to her.

The Thing is timeless. It may be over 40 years old now, but you just can’t get tired of a genre-bending mystery thriller filled with blood, guts, and aliens. If you’re into films like Annihilation, The Fly, or Alien, I guarantee you’ll be enamoured with The Thing. It’s on Prime Video until later in November, or you can catch it on ITVX.

28 Days Later (2002)

With the release of the long-awaited sequel, 28 Years Later, earlier in 2025, it’s not surprising that JustWatch users have been revisiting 28 Days Later in the run-up to Halloween. The 2002 flick is one of the most disturbing zombie movies of all time, but it’s also so incredibly innovative, gritty, and offers plenty of social commentary, too.

Much like George A. Romero’s highly influential Night of the Living Dead and its sequels, Danny Boyle really changed the game with this one. It was the first zombie film to introduce fast-moving zombies, and its shaky, handheld footage just adds to the immersive and unsettling viewing experience. Cillian Murphy is fantastic in the lead role, while cameos from Christopher Eccleston and Brendan Gleeson really pop. I went to see 28 Days Later at the cinema not so long ago, which was an eerie but thrilling experience. You can watch it on Sky Movies or rent it for as little as £3.49.

The list of best horror movies and best Halloween party movies really don’t overlap as much as you’d think. Put on something too slow-moving, and the vibe will quickly dissipate. Put on something too brutal and you risk alienating half if not most of the room—although, if you happen to be friends with a bunch of sickos, please feel free to press play on the Terrifier franchise, sit back, and enjoy. 

For the list below, I’ve decided to focus on the horror movies that prize shock and entertainment over violence and existential dread—although there are hints of both in some of these titles, too. I’ve arranged the list—at least to the best of my ability—from guaranteed party hits to some slightly more niche offerings. Read on to discover more and hit the guide below to find them on services like AppleTV, Netflix, Prime Video and elsewhere.

Barbarian (2022)

We can start with the closest thing to a surefire party hit that I can imagine. Barbarian is the movie that made Zach Cregger’s name, and if you saw his 2025 smash hit Weapons (another movie that would go down an absolute treat at any horror party), you’ll know what kind of vibe to expect. 

The plot works with triggers that pretty much anyone can relate to—namely, the anxiety of ending up in the wrong Airbnb and the thought of all the terrible things that might be behind that locked door. Cregger is brilliant at building suspense and delivering on it, but he also knows when to release the pressure valve with a laugh, making him basically the ideal director for any group watch scenario. 

Scream & Scream 2 (1996 & 1997)

If you’re planning the kind of watch party that will go long into the night, this classic double bill is sure to keep the homies entertained for at least four hours. Scream and Scream 2 (and feel free to put on 3 if you’re up for it) are basically ideal for this kind of atmosphere: they’re bright, they’re cool, they’re full of attractive people and they’re funny; they have iconic scenes and shout-along lines; and they’re scary in a way that keeps you locked-in without causing you too much trouble on the walk home.

If you’ve not seen either, you’re really in for a treat—especially if you like the kind of horror movies that really know that they’re horror movies, like Wes Craven’s New Nightmare and the next movie on this list… 

The Cabin in the Woods (2012)

Written by Joss Whedon and directed by Drew Goddard, The Cabin in the Woods is one of the most inventive horror movies of the last 20 years. The plot begins like a million other horror movies—a group of hot young people venturing into the woods in a way that makes you think, “shouldn’t they know better?”—but that familiarity is the whole point. As we soon learn, the characters are merely pawns in an elaborate, horrific game that’s about as scary as it is darkly funny.

This is one for fans of Joss Whedon’s writing style (if not Whedon himself)—for The Avengers fans, sure, but especially for the Buffy heads out there.

Final Destination 3 (2006)

Honestly, you could put on any one of the six Final Destination movies at a party and everyone will probably have a good time. I’m opting for Final Destination 3 here as it has the best ratio of gruesome kills to colourful fun in the franchise. It also has Mary Elizabeth Winstead (Death Proof) in the lead role and boasts a delicious amount of mid-‘00s ephemera, some of which is solidly back in style.

If you’ve never seen an FD movie, imagine a mix of I Know What You Did Last Summer and the board game Mouse Trap, and you’ll have an idea of what to expect.

Smile & Smile 2 (2022 & 2024)

The second double bill on this list comes courtesy of what is, IMO, the best new horror franchise of the last 20 years. Smile and Smile 2 take such delight in being terrifying that you kind of pass through the fear and arrive in a place of pure enjoyment—if that makes any sense. They’re also big, bright and inventive enough to keep a watch party locked in, whether or not you decide to go for the full double bill. 

The setup is so simple—a curse that can be passed on (think Ring, It Follows), during which time the cursed person begins to see rictus-like grins on strangers’ faces—yet it really works like a horrifying charm. Many movies have attempted to convey the ungodly fear of a night terror. Parker Finn’s two debut features come awfully close.

M3GAN (2022)

If you’re throwing a horror watch party and need something a little light to get things going —or even to chill everyone out at the end—Gerard Johnstone’s M3GAN is a great option. This is a horror movie that manages to be consistently chilling and occasionally very dark without having to rely on anything too gratuitous—it might interest you to know that it’s rated 15.

It’s also very, very funny, especially whenever M3GAN, a companion robot with a ruthless, sadistic streak, gets to sing. One for fans of playful and thought-provoking horror—imagine Get Out mixed with Companion and you might know what we mean. 

Midsommar (2019)

It was tricky to decide which Ari Aster movie to include here. Hereditary seems like the more obvious choice, but there’s just something about the culty vibes and constant daylight in Midsommar. Like the women who moan in unison with Florence Pugh’s character, this one just feels better with a crowd. 

Midsommar is also batshit—certainly enough that everyone watching will be shouting at the screen or peeking through their fingers at the gnarliest parts. This is one for fans of the best A24 horrors—like Aster’s other movies, of course, but also The Witch and Bodies Bodies Bodies.

Talk to Me (2023)

Talk to Me is an ideal horror watch party movie as it’s basically about a horror watch party. The plot centres on a mysterious, embalmed hand that, when grasped, allows the user to commune with the dead—the only catch is that you have to let go within 90 seconds or risk becoming connected to an evil spirit. 

In the world of the movie, this is given the contemporary twist of becoming a TikTok dare trend, with young people videoing each other as they go in. Like It Follows and the Smile movies, Talk to Me is a creepy, curse-based horror—so if you enjoyed them, you’ll probably like this one!

Us (2019)

Like several movies on this list, Us is a bright, colourful and inventively directed movie that still packs plenty of jump scares and chilling images—which is to say, it’s a great horror to watch with a group.

Boasting an incredible duel lead performance from Lupita Nyong’o, Us is the second movie from horror master Jordan Peele—and if you liked his legendary debut, Get Out, or other horror movies with rich, socio-political subtexts (think The Purge), it’s one you’ll want to check out. 

Pearl (2022)

We’ll end our list with Ti West’s Pearl, a one-of-a-kind movie that splits the difference between classic Hollywood (think Wizard of Oz) and joyous exploitation (think Texas Chain Saw Massacre). This is technically the second part of West’s X trilogy (and if you have the stamina, a triple bill with X and MaXXXine would be plenty of fun), but it works just as well as a standalone movie. 

The story is set in 1918 in rural Texas, where Pearl (a phenomenal Mia Goth) dreams of escaping her parochial life and becoming a movie star. It’s weird, it’s bloody, and it’s very unhinged—an ideal cocktail for any horror party.

This article was originally written by Jenni Russell and published on 8 April 2025.

Famed for its hand-drawn animation style and legendary co-founder and director, Hayao Miyazaki, Studio Ghibli is one of the most successful and beloved animation studios in the world. It all began when Toshio Suzuki hired Miyazaki to direct 1984’s Nausicaä of the Valley of the Wind, which Takahata produced. That film’s success led to the three filmmakers founding Studio Ghibli in 1985.

Miyazaki’s early films, like Castle in the Sky (1986), My Neighbour Totoro (1988) and Kiki’s Delivery Service (1989), soon became critical and commercial successes in Japan. The studio then found international acclaim with the release of Princess Mononoke in 1997, which was the first animated film to win the Japan Academy Film Prize for Picture of the Year.

To date, Studio Ghibli has released 23 movies, some of which are considered masterpieces. Read on to discover more and use the guide below for details on where to find every Studio Ghibli movie on services like Netflix, Prime Video and more.

Nausicaä of the Valley of the Wind (1984)

As we mentioned above, Nausicaä of the Valley of the Wind was released before Ghibli was founded, but it’s still widely considered not only among the studio’s back catalogue but one of its greatest movies. Miyazaki had already been working in anime for 20 years by this point, but the movie gave him the chance to adapt his own manga, the first of which was released in 1982 and would continue to run until 1994.

Though the movie seems to be exploring our own relationship with the natural world, a recurring Miyazaki theme, this is one of the director’s most action-packed movies: a true hero’s quest in an unfamiliar world. Put it this way: if you have any love for Dune or Avatar, this is one you will not want to miss.

Castle in the Sky (1986) 

Sticklers for details will tell you that Castle in the Sky is technically the first Studio Ghibli movie, which is mostly true. It’s also a wonderful example of all the things that Ghibli and Miyazaki do best—steampunk vibes, child protagonists, flying pirates, magical castles, and so on.

The plot follows two young protagonists on a quest to enter Laputa, the legendary flying castle, using a magical crystal necklace. This is a great one to watch if you’re a fan of Miyazaki’s more fantastical movies, like Ponyo or Howl’s Moving Castle.

My Neighbour Totoro (1988)

There are many reasons why My Neighbour Totoro is considered the quintessential Ghibli movie and why the character went on to symbolise what the studio is all about. The plot is classic Miyazaki, focusing on two young girls who move to the country and meet a group of forest spirits, including the eponymous, cuddly hero. But it’s the way that the director uses these magical elements—first for the characters to escape from a difficult time in their lives and later as a lens through which to process it—that proved to be the most significant and influential aspect for the studio going forward. 

Totoro is a Ghibli movie that viewers of all ages can enjoy—so if you like Ponyo and The Cat Returns, or even non-Ghibli films like The Wild Robot or The Iron Giant, this is one you need to check out. 

Grave of the Fireflies (1988)

Directed by Isao Takahata, Grave of the Fireflies is one of the most heartbreaking movies ever made. The story is set in the final months of WWII, making it one of the rare Ghibli movies to be fully set in the real world and based, at least partially, on true events.

The movie was adapted from Akiyuki Nosaka’s semi-autobiographical story of his experiences as a boy during that time. It’s also a rare Ghibli movie that wasn’t made by Miyazaki, but if you liked the director’s The Boy and The Heron and The Wind Rises, or even Spielberg’s Empire of the Sun, all of which took war and personal histories as their backdrop, you’ll definitely appreciate this one. 

Kiki’s Delivery Service (1989)

After two masterful, heart-wrenching movies, Ghibli returned to magical, steampunk fun with Kiki’s Delivery Service. This is the kind of Miyazaki-directed movie you can watch with pretty much any member of the family—it’s fun, it’s light, and it’s action-packed from start to finish. 

Focusing on a 13-year-old witch who leaves home for the first time, as a kind of rite of passage, the movie is a classic Ghibli coming-of-age tale that fans of later works, like Spirited Away, or similar female-led movies, like Pixar’s Brave, will adore.  

Only Yesterday (1991)

Only Yesterday is probably one of the least well-known of the studio’s early output, but it’s definitely worth seeking out. The moving and melancholy story follows an office worker who takes a vacation to the countryside; while there, she reminisces about her childhood.

Only Yesterday is Takahata’s followup to Grave of the Fireflies and, unlike most Ghibli movies, it takes place in the real world and the present day—so if you like anime that’s a bit more grounded in reality (think Whisper of the Heart) or are simply a fan of Japanese melodrama (think Kore-eda’s After the Storm and Still Walking), this might be the one for you.

Porco Rosso (1992)

Miyazaki returned in 1992 with Porco Rosso, one of the most fantastical movies in his career. The story follows a fighter pilot and war hero who, due to some kind of curse, also now resembles a pig. 

Like Kiki’s and Nausicaä, Porco Rosso is a movie that showcases the director’s beautiful fascination with flight—so if you are a fan of his gorgeous recent movie, The Wind Rises, or even just need something to watch with the younger members of the family, this is one I can’t recommend enough. 

Ocean Waves (1994)

Directed by Tomomi Mochizuki, Ocean Waves was originally produced as a TV movie in Japan and only later received a theatrical release. As a result, it’s understandably less well known and less ambitious than most other movies on this list, but it’s still a thoughtful and introspective piece of work—and if you liked Only Yesterday, it’s one you’ll probably vibe with.

Adapted from Saeko Himuro’s novel, the story focuses on a college student, Taku, as he reflects on a young romance and a pivotal time in his life. 

Pom Poko (1994)

Pom Poko is Isao Takahata’s third movie for Ghibli and his first work of fantasy for the studio. The story focuses on some real-world themes (namely, how urban development takes its toll on the natural world), but it’s told from the perspective of a community of raccoon dogs.

In some ways, this is a classic Ghibli setup—and if you appreciate Nausicaä or Princess Mononoke, you’ll probably like it—but you might also find it reminiscent of some Western animations, like FernGully and Watership Down. 

Whisper of the Heart (1995)

As we mentioned earlier, Whisper of the Heart is one of the rare Ghiblis that feels rooted in the real world and the present—so if you’re a fan of Ocean Waves and Only Yesterday, make sure to add it to your list. 

That said, where those movies looked at memory with a sense of melancholy and nostalgia, Whisper of the Heart, which is told from the perspective of a 14-year-old girl, is more of a classic coming-of-age tale. If you appreciate the vibe of Kiki’s or Totoro but would prefer something with fewer fantastical elements, this could be the one for you. 

Princess Mononoke (1997)

Just over a decade after co-founding Studio Ghibli, Miyazaki built on the ambitions of Nausicaä with Princess Mononoke, one of the truly great masterpieces of animated cinema as well as one of the studio's and Miyazaki’s crowning achievements.

The movie is a classic adventure tale that plucks its protagonist, Prince Ashitaka, from a small village and drops him into an epic struggle between the spirits of the natural world and the humans of Iron Town. This plot will be familiar to fans of Avatar, FernGully and various other movies—but none boast Mononoke’s beauty and imagination.

My Neighbours the Yamadas (1999)

In 1999, Takahata tried another change of pace with My Neighbours the Yamadas, a watercolour-like animation that looked closer to a comic book than anything the studio had produced before. Seen today, the movie appears like an early experiment in the style that Takahata would fully embrace with The Tale of Princess Kaguya—so naturally, if that’s a favourite of yours, make sure to go back and check this one out.

The story, which is told through a series of vignettes, focuses on the quirky Yamada family and the ups and downs of their daily life. 

Spirited Away (2001)

In 2001, Studio Ghibli produced Spirited Away, which won the Golden Bear at the Berlin Film Festival before becoming the highest-grossing Japanese film (until recently), and the first non-English-language movie to win the Academy Award for Best Animated Feature. Yet those accolades don’t really come close to capturing Spirited Away’s cultural impact—this was the movie that introduced Ghibli to a whole new generation and basically cemented Miyazaki’s place as one of the most significant figures in the history of animated cinema.  

Needless to say, I would recommend it to anyone—it’s the perfect combination of the magical side of Ghibli (think Kiki’s and Laputa) and the more grounded, real-world elements (like Whisper of the Heart, or the family dynamics in Totoro). The story follows a young girl, Chihiru, as she attempts to stop her parents from turning into pigs. To do this, she will have to work in a bathhouse run by a witch. She will also need to befriend a boy who is a dragon. Now that’s what I call an elevator pitch. 

The Cat Returns (2002)

The next Ghibli movie to arrive after Spirited Away’s monumental success was Hiroyuki Morita’s The Cat Returns, a comparatively low-key movie that is probably best suited for slightly younger audiences—think more Porco Rosso and Ponyo than Grave of the Fireflies. 

At one point in that film, the protagonist, Shizuku, dreams up a character named Baron Humbert von Gikkingen: a suave, talking cat from a magical world. The Cat Returns tells its story. Though it takes place in one of Ghibli’s signature fantasy/steampunk-coded worlds, the story is actually a loose spinoff from one of their most grounded movies, Whisper of the Heart.

Howl’s Moving Castle (2004)

Miyazaki unexpectedly made his grand return in 2004 with the romantasy-like adventure, Howl’s Moving Castle, after the movie’s original director, Mamoru Hosoda (who went on to make Mirai and Belle), pulled out. This is another story of floating fortresses in a steampunk-adjacent world—imagine a mix of Castle in the Sky and Beauty and the Beast, and you’ll have some idea of what to expect.

The story follows a beautiful milliner who gets turned into an old lady and ends up hitching a ride on the titular palace, meeting its titular, brooding wizard along the way. 

Tales from Earthsea (2006)

It’s safe to say that, for many viewers, Tales from Earthsea was the first disappointment in the history of Studio Ghibli—and not least for Miyazaki himself. The story goes that the great science fiction writer Ursula K. Le Guin agreed to allow Studio Ghibli to adapt her Earthsea stories after seeing Spirited Away. Unfortunately, and much to Le Guin’s surprise, the Miyazaki that was pencilled to direct them was not Hayao but Gorō, his inexperienced son.

The resulting film (which has elements of other fantasy stories like The Green Knight and House of the Dragon) is probably worth a watch for any Le Guin diehards or Ghibli completists out there, but if you’re new to either one of their works, we recommend putting it aside for now. 

Ponyo (2008)

Ponyo is one of the best all-ages movies that Ghibli has produced—and if you liked Porco Rosso or Totoro or Kiki’s, you’re gonna love this one, too. It’s a story about a goldfish who wants to become human—like the myth of Undine or The Little Mermaid, but strictly kid-centric and utterly delightful.

After the slightly messy production of Howl’s and the disappointment of Earthsea, this one marked a welcome return to form for Miyazaki and for the Ghibli brand.

Arrietty (2010)

Arrietty is one of the early examples of Miyazaki’s protracted attempts to step back from his position at the studio—a situation that is still ongoing, 15 years after this movie’s release. Whatever the case, Arrietty was written by Miyazaki but directed by Hiromasa Yonebayashi—a longtime animator at the studio who was elevated to the role in an attempt (not dissimilar to how Pixar works) at developing talent from within.

The story, which concerns a family of tiny people who live secretly in the walls of a house, is based on Mary Norton’s 1952 novel, The Borrowers—so if you appreciate the live-action version of that story, from 1997, or similarly themed movies, like Ratatouille, you might want to check it out. 

From Up on Poppy Hill (2011)

From Up on Poppy Hill was kind of a feel-good story for the studio. Miyazaki helped to develop it but gave the directorial reins to his son, Goro, and, in a way, gave him a redemption arc after the disappointment of Earthsea. Thankfully, for everyone involved, Poppy Hill was a low-key critical and commercial hit. 

The movie is a subtly romantic story set in Yokohama in the 1960s—and if you’re a fan of the studio’s more historically-inclined works, like Grave of the Fireflies, or appreciate the coming-of-age mood of Whisper of the Heart, you’ll easily warm to it. 

The Wind Rises (2013)

The Wind Rises is the moment when Miyazaki, and perhaps Studio Ghibli, entered his late phase. The movie, which I consider to be a masterpiece, is a fantastical biopic on Jirō Horikoshi, the Japanese aeronautical engineer who helped design the A6M Zero fighter used by Japan in WWII. This is a deeply personal work about an incredibly challenging time in Japanese history—if you’re a fan of Poppy Hill and Grave, it’s one you’ll not want to miss.

The movie was a critical darling, earning a huge ovation at its premiere at the Venice Film Festival and going on to receive a nomination at the Academy Awards, where it eventually lost out to Frozen. 

The Tale of the Princess Kaguya (2013)

Fourteen years after Yamadas, Isao Takahata fully embraced the hand-drawn style with his second great masterpiece, The Tale of the Princess Kaguya. The movie is a delicate wonder and arguably a modern classic of animated cinema—and if you appreciate the handcrafted feel of Yamadas or movies like Song of the Sea, you’ll absolutely adore this one.

The story is based on The Tale of the Bamboo Cutter, an ancient Japanese folk tale about a man who finds a tiny girl inside a stalk of bamboo.

Ronja, the Robber’s Daughter (2014)

In 2014, Studio Ghibli released its first animated television series on Amazon Prime, titled Ronja, the Robber's Daughter. The season, which consists of 26 episodes, was directed by Gorō and written by Hiroyuki Kawasaki. If you liked Kawasaki’s work on Beyblade: Metal Saga, or like Ghibli movies that focus on a female heroine, like Arrietty, you might be interested in seeing what he does here with a slower-paced kind of story. 

The plot focuses on the unlikely friendship between a boy and a girl whose fathers are the chiefs of two warring clans.

When Marnie Was There (2014)

When Marnie Was There is Arrietty director Hiromasa Yonebayashi’s second Ghibli feature—so naturally, if you’re a fan of the previous movie, you’ll probably want to check this one out. It’s based on Joan G. Robinson’s 1967 English novel of the same name, with the action moved to Sapporo in Japan.

The story follows a young girl who moves to the countryside, due to illness, and meets and befriends a mysterious girl named Marnie—imagine Ghibli meets The Secret Garden, and you’ll have some idea of the tone to expect.

Earwig and the Witch (2021)

Like Ocean Waves, Earwig and the Witch was produced as a TV movie in Japan and only later received a theatrical release abroad, where it was widely panned for its use of computer animation. The story is adapted from Diana Wynne Jones’ novel about a girl who grows up in an orphanage and later learns she is a witch—a kind of Matilda/Harry Potter hybrid.

If you’re new to Ghibli, I frankly wouldn’t recommend this one, as its use of CGI animation is really not a good representation of what the studio is about. But hey, if you’re a Ghibli completist, don’t let us hold you back! 

The Boy and The Heron (2023)

Despite various attempts at retiring, Miyazaki has thankfully continued directing films for Ghibli. In 2023, almost 40 years after Nausicaä, he released the wonderful The Boy and The Heron—a project which is rumoured to actually be his final work. 

This is another Ghibli project that takes the Second World War as its backdrop, but it’s also one with plenty of magical and fantastical elements—imagine a combination of The Wind Rises and Spirited Away, and you might have a vague idea. I can’t say that it’s amongst my favourites from the director’s work, but if it really turns out to be his last, it’s a beautiful movie to finish on. 

The How to Train Your Dragon series, based on Cressida Cowell’s book series, has grown into a beloved franchise since the release of the first animated movie in 2010. Known for both its heartwarming relationships between humans and dragons and its beautiful animation, the story’s universe has grown to include everything from animated and live-action films to TV series, video games, a graphic novel and a theatrical play.

This guide includes shows you the wide range of How To Train Your Dragon movies, shorts and TV shows. If you're only interested in watching the franchise's feature length movies, here's the correct order:

• How to Train Your Dragon (2010)
• How To Train Your Dragon 2 (2014)
• How To Train Your Dragon: The Hidden World (2019)
• How To Train Your Dragon (2025)

However, there are plenty of amazing TV shows and shorts to enjoy too. They can either be watched after you've binged the movies, or you can watch them in their release order. If you're interested in the full list of adventures the HTTYD franchise has to order, here's everything release order (and where to stream them).

How To Train Your Dragon (2010)

Here’s the movie where it all began. How to Train Your Dragon is a story about a young Viking, named Hiccup, who makes friends with a wounded dragon, named Toothless. It’s a wonderfully exciting story that also contains a message about accepting outsiders, as Hiccup and Toothless’s friendship changes how the other vikings think about dragons and, ultimately, about themselves.

Needless to say, if you’re looking for an animated adventure that viewers of all ages can enjoy (think Kubo & the Two Strings or Raya and the Last Dragon), few do it better than this one.

Legend of the Bonekeeper Dragon (2010)

The first How to Train Your Dragon short is titled Legend of the Boneknapper Dragon and follows Hiccup and Gobber on a quest to face the titular dragon, a skeleton-like creature of mythical lore.  The short is roughly 12 minutes long, but about half of that is told in traditional 2D animation—it might be one for you if you’d like the chance to see a HTTYD story told in that style, and one that shows a bit of Gobber’s past. 

Book of Dragons (2011)

Released a year later, the slightly longer short, Book of Dragons, expands the universe of HTTYD through the titular book, which explores a range of never-before-seen dragons. The 18-minute-long short introduces 14 new species, separated into seven different classes. If learning about all the different varieties sounds interesting, you might want to check this one out.

Dragons: Gift of the Night Fury (2011)

Released in December 2011, Dragons: Gift of the Night Fury is the first holiday special in the Dragons franchise. The story begins with Hiccup and his fellow vikings preparing for their annual winter celebration, which, of course, is called Snoggletog. Toothless becomes sad when the other dragons migrate away, and so Hiccup must try to cheer him up. It’s a typically sentimental holiday tale that younger fans of the series will enjoy.

Dreamworks Dragons (2012-2018)

The first HTTYD series to be released was DreamWorks Dragons, which ran between the end of the first movie and the beginning of the last. The first two seasons can be watched between the first and second movie, with Seasons 3 to 8 between the second and Hidden World.  Most of the voice cast return in a series that explores the challenges and joys of the new cohabitation of Vikings and dragons, following the events of the first movie.

How To Train Your Dragon 2 (2014)

How to Train Your Dragon 2 follows Hiccup and Toothless on their adventure to discover new lands and wild dragons. Along the way, they encounter Drago Bludvist (voiced by Djimon Hounsou), an evil villain who wants to control all dragons, and Valka Haddock, a dragon rescuer who also happens to be Hiccup’s long-lost mother.  Speaking about the movie, series creator Dean DeBlois cited The Empire Strikes Back and My Neighbour Totoro as influences—so if you’re a fan of those movies, you might spot some similarities here.

Dragons: Dawn of the Dragon Racers (2014)

The longest HTTYD short is Dragons: Dawn of the Dragon Racers, a 26-minute story that originally appeared on the DVD release of How to Train Your Dragon 2. 

Set three years before the second movie, this one follows a race between Hiccup and his friends to become Berk’s first Dragon Racing Champion—younger viewers with a love for all things racing will likely appreciate it more than others.

DreamWorks Dragons: Rescue Riders (2019-2022)

After the events of the original trilogy, Netflix released DreamWorks Dragons: Rescue Riders. The plot follows Dak and Leyla, two young humans who were raised by dragons and, as a result, have acquired the ability to speak with them.

A spin-off show from the HTTYD universe, Rescue Riders might be appealing to much younger viewers.

How To Train Your Dragon: The Hidden World (2019)

The final movie in the trilogy, How to Train Your Dragon: The Hidden World, sees Hiccup and Toothless discover a hidden dragon utopia. Now 21 years old, Hiccup must deal with the responsibilities of being chief, while Toothless finds love with Light Fury. Together, they confront a new dragon hunter called Grimmel (voiced by the great F. Murray Abraham).

Talking about the movie in interviews, Deblois mentioned Avatar as a visual reference for the bioluminescence of The Hidden World and, more interestingly still, cited the cinematography in The Revenant as inspiration for some of the long takes in the action scenes. So, if you’re a HTTYD fan who appreciates either of those movies, you’ll want to check this one out. 

How to Train Your Dragon: Homecoming (2019)

How To Train Your Dragon: Homecoming is the second holiday special in the HTTYD universe. Containing most of the cast from The Hidden World, this one is set ten years after the end of the movie, when the dragons left the vikings, and focuses on Hiccup’s attempts to convince his children that the dragons weren’t monsters. To do so, he and Astrid plan to bring back the Snoggletog pageant.

This is another of the series’ holiday offerings and another that younger members of the family will definitely get into. 

Dreamworks Dragons: The Nine Realms (2021-2023)

The most recent spinoff from the HTTYD universe is DreamWorks Dragons: The Nine Realms. Taking place in pretty much the present day, it’s also the biggest diversion from the fantastical Nordic world of the original movies—so if you’re interested in seeing that clash, you might want to check it out. The action is set 1300 years after Hidden World, following a group of teenagers who uncover a dragon world in the crash site of a comet. Soon, they begin to discover something about their own destinies, too. 

How To Train Your Dragon (2025)

2025 has been a great year for Dean DeBlois, with live-action versions of two of his creations making the top five of the highest-grossing movies of the year (at the time of writing). DeBlois acted as producer on Lilo & Stitch (based on the 2002 Disney classic he wrote and directed with Chris Sanders), but the live-action How to Train Your Dragon was both written and directed by him, too. 

This is a super faithful retelling of the 2010 movie, so if you love the original, you’ll probably enjoy seeing it adapted so accurately here—especially as Gerard Butler gets to reprise his role as Stoick the Vast.  And if you loved this version of the story, we have good news—a sequel to the live action adaptation is currently in development and should be available to watch in 2027!

Whether you’re a petrol-head craving the roar of a revving engine, a life-long Brad Pitt fan, or both, you’ve probably already seen F1: a movie that lapped the competition at the summer box office last year before racing its way to an unlikely Best Picture nomination at the 2026 Academy Awards. Like Joseph Kosinski’s previous film, Top Gun: Maverick, this is a movie for anyone who appreciates high-spec filmmaking—especially anything with a tactile, action-forward approach that doesn’t rely too heavily on CGI.

With Pitt at the wheel, Kerry Condon and Javier Bardem in the pit, Kosinski at the controls, and Jerry Bruckheimer and the great Lewis Hamilton rounding out the crew, everything was precisely calibrated for F1 to become a roaring success—and it delivered. If you’re yet to see it and are looking for a warm-up, or if you have and are simply craving another movie that delivers a similar rush, use our guide below to discover ten of the best racing movies ever made, and find out where to watch them on AppleTV, Netflix, Prime Video and elsewhere. 

Rush (2013)

If you like Chris Hemsworth, the great German actor Daniel Brühl, and the ‘70s nostalgia of films like American Hustle and The Nice Guys, Ron Howard's Rush should go to the very top of your watchlist. It’s a gripping period movie that covers an infamous moment in the sport's history, but it also marks a highpoint in Brühl's career—the actor was nominated for a Bafta and a Golden Globe for his performance before narrowly missing out with the Oscars.

Set largely during the fateful 1976 Formula 1 season, the story focuses on the rivalry and eventual respect between the spiky Austrian legend, Niki Lauda (Brühl), and the handsome and arrogant Englishman, James Hunt (Hemsworth), a handsome but cocky Englishman, in a movie

Ford v Ferrari (2019)

Ford v Ferrari is one of the best dad-core movies of the last ten years. If you like the kind of story where a scrappy team (played by impossibly charismatic actors) gets to show the lame establishment guys how it’s done—think classics like Cool Runnings and Moneyball—you’re going to love everything about it.

Set in 1966, Ford v Ferrari follows the prickly yet endearing friendship between Carroll Shelby (Matt Damon), a retired champ turned designer, and the maverick race car driver, Ken Miles (a brilliant Christian Bale). Ferrari once again play the antagonists in what is a surprisingly moving account of the Ford racing team’s attempt to end a period of Italian dominance at the 24 hours of Le Mans.

Senna (2010)

To put it briefly: Senna is one of the best sports documentaries ever made. Released in 2010 to universal acclaim, it's also proved itself to be one of the most influential—looking back on it now, it's hard to imagine the likes of Rush, F1, or even Drive To Survive existing without it. If you’re a fan of any of those, or sports docs in general, I can't recommend it enough.

The movie is an essay-like documentary from Asif Kapadia, the British director behind the similarly great bio-docs Amy and Diego Maradona. If you've seen either of those, you'll know that Kapadia doesn’t rely on interviews or talking heads to tell the story here—which details the life, brilliance, and tragic death of the Brazilian driver Ayrton Senna, a three-time winner of the F1 championship. It’s a movie that successfully elevates the sport of race car driving into something approaching art.

Speed Racer (2008)

Speed Racer is a dazzling, digital sugar-rush (or headache, depending on your tastes) of images and colour—so, if you're a fan of eye-popping visuals, you should consider taking it for a ride. Based on a Japanese anime from the 1960s, it stars Emile Hirsch as a plucky young driver looking to follow in his brother’s footsteps by racing against the crooked Royalton Industries team—just don’t worry about the narrative too much; it's a movie that's all about the vibes.

On first release, audiences and critics didn't really know what to make of Speed Racer but it has recently acquired low-key cult status. Any work bold enough to do its own thing and loud enough to stick around for a while will always earn that kind of reassessment, sooner or later. The Wachowski sisters’ movie has done just that, and deservedly so. 

Gran Turismo (2023)

Gran Turismo, one of the more recent entries on this list, is far from perfect but it’s a solid, no-nonsense sports movie that's perfect for a lazy Tuesday evening on the couch. It was also a breakout role for Archie Madekwe—so if you've appreciated his recent work in movies like Lurker or Saltburn, this one's well worth a watch.

The story is a loose adaptation of Jann Mardenborough’s unlikely real-life journey from online GT gamer to professional race-car driver. F1 director Joseph Kosinski was initially approached to direct, but the job eventually fell to Neill Blomkamp, director of District 9, who does a perfectly fine job with the race scenes and, thanks to a fine performance from David Harbour, a pretty decent job with everything else.

Ferrari (2023)

It just made all kinds of sense that Michael Mann–the legendary Heat director and a certified lover of all things slick, complex, and dangerous–would eventually make a racing film. Enter Ferrari, a soulful biopic on the legendary designer and car manufacturer, Enzo Ferrari.

The movie, which features a great performance by Adam Driver in the lead role, focuses on the fateful Mille Miglia race in 1957—a pivotal moment for both the man and the company he built. This one will be interesting for fans of Mann’s more recent work (like Blackhat and Miami Vice) but also for any racing fans with an interest in the sport's history.

Talladega Nights: The Ballad of Ricky Bobby (2006)

If you’re looking for a racing movie that takes itself a lot less seriously than most of the other movies on this list, Talladega Nights will probably be more your speed. This was Adam McKay and Will Ferrell’s second collaboration after Anchorman and it's still one of the funniest things they’ve ever done. 

The movie stars Ferrell as Ricky Bobby, a championship NASCAR driver who suffers a deadly crash and then must overcome his demons to get back in the driving seat. Some of the jokes haven’t aged as well as others, understandably, but two years before re-teaming on Step Brothers, the Ferrell and John C. Reilly double-act is in its prime.

Logan Lucky (2017)

Similar to Talladega, Logan Lucky is probably best described as a comedy set in the race world rather than a pure racing movie, but that doesn’t mean it won't be something that race fans won't love. It’s fitting that the nominatively determined Adam Driver features twice on this list, this time as one half of the Logan brothers in a NASCAR-set movie that's probably closer in tone to a heist movie than F1.

Though sharply written and directed by Steven Soderbergh, it not quite on the same level as the director’s snare-tight Ocean's movies, but with Channing Tatum, Daniel Craig, and Riley Keough rounding out a charismatic cast, it certainly has a real good time trying.

The Final Destination (2009)

David R. Ellis’ The Final Destination is naturally more for the horror fans out there, but the incredible opening bloodbath makes it, IMO, a worthwhile addition to any podium of racing movies. The NASCAR-set sequence has so much fun imaging all the gnarly ways that people can lose their heads at a race track; the only surprise is that it took the franchise's directors this many films before they dreamed it up. 

The Final Destination is confusingly the fourth movie in the series, but I think it’s one of the very best. If you had a good time with Bloodlines last year, make sure to give it a watch.

Top Gun: Maverick (2022)

Perhaps it’s cheating, but anyone with a need for more speed after seeing Joseph Kosinski’s latest film could do far worse than revisiting its predecessor, Top Gun: Maverick. Reprising one of his most famous roles (from 1986's Top Gun), Tom Cruise stars as a Navy pilot who must take to the skies for one last mission—at least, at time of writing. 

So many of the building blocks that made F1 great are all present and accounted for here: the practical effects, the incredible sound design, the sight of a man in his 60s showing all the cocky young guys how it’s done. It's a movie that deserves to be seen as big and as loud as humanly possible.

This article was originally written by Jenni Russell and published on 11 June 2024.

Indiana Jones is the world-famous, globe-hopping professor of archaeology created by George Lucas and Philip Kaufman at Lucasfilm before being captured on film in Steven Spielberg’s 1981 classic, Raiders of the Lost Ark. Included in this streaming guide is everything you need to know about the franchise, including where you can find all the Indiana Jones movies online.

Each movie stars the great Harrison Ford as the titular hero, Dr Henry Walton “Indiana” Jones, Jr. The franchise itself now spans over 40 years, starting with the release of Raiders and going all the way up to Dial of Destiny in 2023. During that time, Indy’s story has gone from 1935 to 1969, with some jumps to the past (and even the distant past) explored at various points. Alongside five movies and a TV series, the franchise has grown to include comics, games, and novels. There are also Indiana Jones amusements at Disney theme parks around the world, including Tokyo, Paris and Orlando.

Here are some details about each Indiana Jones production. We’ve listed them here in chronological order, with Young Indiana Jones up first—but I’d still personally recommend starting with the movies. Read on to find out where to find them on platforms like AppleTV, Netflix, Prime Video and elsewhere.

Indiana Jones TV series (1992-1996)

Running on ABC from 1992 to 1996, The Young Indiana Jones Chronicles starred Sean Patrick Flanery and Corey Carrier as Indy, exploring the character’s adventures during adolescence and childhood, respectively. Over 28 episodes and four TV films, the series followed Indy around the world, allowing him to meet with famous historical figures including T.E. Lawrence, Ernest Hemingway and Leo Tolstoy.

The show is not exactly considered a classic these days, but Spielberg and Lucas did insist on a level of quality that was unusual for TV at that time. This included shooting on location, all around the world, and using 16mm film—so it still looks incredible. They also used a host of established and up-and-coming directors, including Frank Darabont and Nicolas Roeg—so if you’re a fan of Darabont’s The Shawshank Redemption or Roeg’s The Witches, you might be interested in seeking out their episodes. 

Raiders of the Lost Ark (1981)

Directed by Steven Spielberg, Raiders of the Lost Ark is Harrison Ford’s first appearance as Indiana Jones. It is also arguably the best action-adventure movie ever made—and if you’re a fan of swashbuckling classics like The Adventures of Robin Hood or more recent globe-hopping capers, like National Treasure, you’ll obviously love it.

The film is set in 1936, as Indy and Marion Ravenwood (Karen Allen) face Nazi German forces in a race against time to find the infamous Ark of the Covenant. The screenplay was written by Lawrence Kasdan (who also penned The Empire Strikes Back), from George Lucas and Philip Kaufman’s story. 

Indiana Jones and The Temple of Doom (1984)

Acting as a prequel to the first movie, The Temple of Doom is set in 1935 and begins with a tuxedo-clad Indy surviving a murder attempt from a Shanghai crime boss—it’s an iconic opening, especially for fans of James Bond in his 1960s pomp. From there, Indy goes on an adventure to the jungles of India, where, it’s fair to say, some aspects of the movie haven’t aged so well. If you’re a bit triggered by white saviour stories, it might be better to give this one a miss. 

However, if you can give Lucas and Spielberg the benefit of the doubt, there’s plenty of fun to be had with it. This is partially thanks to the addition of Everything Everywhere All at Once star Ke Huy Quan as Short Round—and if you loved that more recent movie, you’ll have a blast seeing the actor as a child star here. Harrison Ford, of course, returns along with new characters Willie Scott (Kate Capshaw), Mola Ram (Amrish Puri), Chattar Lal (Roshan Seth) and British Indian Army officer Captain Philip Blumburtt (Philip Stone).

Indiana Jones and The Last Crusade (1989)

In The Last Crusade, Indy returned with a highly personal quest: to locate and rescue his father from the Nazis. Set in 1938, this is the movie in which Spielberg fully leaned into the Bond connection, casting Sean Connery as Indiana’s dad—Connery fans from his days in Goldfinger and Diamonds are Forever will probably get a kick out of seeing him and Ford trade dialogue here.

Connery plays Henry Jones Sr, a Holy Grail scholar who was captured while trying to find the storied treasure. The adventure takes them to Nazi Berlin and later to Petra in Jordan. There’s also a fantastic opening sequence that introduces Indiana as a young man (played by the late River Phoenix), jumping and fighting his way across a moving train.

Indiana Jones and The Kingdom of the Crystal Skull (2008)

After almost 20 years, Indiana Jones returned in Steven Spielberg’s The Kingdom of the Crystal Skull. This is probably most Indy fans’ least favourite of the five, but if you’re a huge fan of Spielberg’s style—especially more recent, CGI-heavy works like Ready Player One and The Adventures of Tintin—you’ll still find much to like. 

Set in 1957, the story follows Indy as he battles Soviet KGB agents in a race to find a telepathic crystal skull. Ford and Allen reprise their roles as Indy and Marion, with Shia LaBeouf as their son Mutt Williams and Cate Blanchett (with a typically awesome performance) as the villainous KGB agent, Irina Spalko.

Indiana Jones and The Dial of Destiny (2023)

For the most recent Indy caper (supposedly the last to feature Harrison Ford), The Dial of Destiny, Spielberg handed the reins to James Mangold, the director behind recent popcorn classics like Ford v Ferrari, Logan and A Complete Unknown—fans of any of those will probably be interested in seeing what Mangold brings to the franchise. Set in 1969, the story takes place around the moon landing and concerns the quest for an artefact that might allow its user to travel through time.

The movie sees the introduction of Mads Mikkelson’s excellent villain, Jürgen Voller, and of Indy’s goddaughter Helena, who’s played by Phoebe Waller-Bridge—so, if you’re really into Fleabag, this one might also be for you. 

Potential Indiana Jones Disney+ series

Going forward, there is always a chance we’ll see Indiana Jones on screen again. In late 2022, Lucasfilm began developing an Indiana Jones series for Disney+, which was said to be a prequel to Raiders of the Lost Ark. Unfortunately, the show was cancelled so Disney could focus on growing the Star Wars universe instead. 

Lucasfilm has since expressed further interest in the series, which would help continue the Indiana Jones franchise after Harrison Ford’s retirement.

The original version of this article was written by Jess Bacon and published on 18 September 2024.

The Marvel Cinematic Universe is the highest-grossing franchise of all time, with almost 40 films and several interweaving TV shows on its roster to date. The MCU began as an ambitious six-movie project, culminating in the hugely influential crossover movie, The Avengers, in 2012. Since then, it’s grown into an ever-expanding universe, drawing on stories and characters from all corners of the original Marvel comics. 

Want to get started on a Marvel marathon? Here’s how you can stream them in the appropriate order. We’ve arranged this list by order of release date. This might seem a little unimaginative, as some stories take place at earlier times in history, but we feel it’s important to watch them as intended to enjoy each character’s introduction to the saga in the appropriate place in the timeline. Read on to discover more about them and use the guide below to find them on streaming services like Disney+, AppleTV and elsewhere.

PHASE 1

Iron Man (2008)

Back in 2008, Robert Downey Jr. kickstarted the franchise with Iron Man, a hugely influential movie that basically established the comedic tone and colourful aesthetic of the MCU. If you’re a fan of RDJ in general (or have only seen him in later instalments, like his great performance in Avengers: Endgame), we recommend going back to see him put on the suit for the first time.

Co-starring Jeff Bridges as the main antagonist, the movie charts Tony Stark’s journey from being an arms-dealing, playboy billionaire to becoming the eponymous superhero… if also still a playboy billionaire.

The Incredible Hulk (2008)

The Incredible Hulk is a bit of an outlier as it’s basically the only blip in the continuity of the early MCU movies. This is one of the only times that Marvel had to recast one of their heroes, so if you’re curious what the world would look like if Mark Ruffalo never took on the role of the big green smashing machine, you might want to check it out. 

The only standalone Hulk movie in the MCU stars Edward Norton as Bruce Banner and Tim Roth as Abomination; you might be keen to see his first appearance in the role if you also enjoyed Roth’s performance in She-Hulk: Attorney at Law.

Iron Man 2 (2010)

Downey Jr. really got to sink his teeth into the role with Iron Man 2, a classic follow-up movie in which the hero faces a crisis of confidence in the face of a new and more powerful foe—think Spider-Man 2, Rocky III, Toy Story 2 and so on and so on.

This is the movie that boasted both Scarlet Johansson’s first appearance as Black Widow and Mickey Rourke’s return to big-budget cinema after his comeback success with The Wrestler. If you’re a fan of the actor’s work, seeing him camp it up here as the villainous Ivan Vanko is a blast. 

Thor (2011)

It’s strange to imagine now, but it actually took a few years before the MCU discovered that Thor was inherently funny. Regardless, there’s still plenty of fun to be had with this origin story from 2011, not least for the fact that it’s the film that introduced Tom Hiddleston’s Loki to the world—and if you like how that character has been developed in recent years, it’s really worth going back to remind yourself just how deliciously conniving he used to be in the early years of the MCU. 

Thor was also directed by the prestige-y filmmaker Kenneth Branagh, so if you liked his recent, very personal film, Belfast, you might also be interested in seeing him working on this kind of scale. 

Captain America: The First Avenger (2011)

Steve Rogers’ first appearance in the MCU, Captain America: The First Avenger, is, IMO, the best of the early run of establishing movies. It’s set during the Second World War, focusing on how Rogers got his abilities and became a national hero—so those who appreciate the kind of superhero movies that take place during tumultuous historical events (think Wonder Woman and Days of Future Past), will definitely enjoy it.

While also introducing Bucky Barnes (Sebastian Stan) and Red Skull (Hugo Weaving), the movie perfectly established Cap’s earnest, unironic and steadfast heroism—providing the perfect Ying to Stark’s Yang for years to come.

The Avengers (2012)

For all of The Avengers’ incredible ambition, it’s amazing how light on its feet the movie is. Joss Whedon might not be the most popular filmmaker these days, but no one can claim he didn’t absolutely nail the tone of the first MCU team-up movie. If you like the MCU movies for the playful banter between heroes (usually of comically varying abilities), they don’t get much quippier or more finely balanced than this one. 

This is the movie that introduced Ruffalo’s Hulk and Renner’s Hawkeye and gave Hiddleston some of his juiciest scenes. It’s a classic of the genre.

PHASE 2 

Iron Man 3 (2013)

Entering Phase 2, after risking his life in the battle of New York, the MCU simply had to give Tony Stark another crisis of confidence in Iron Man 3. Thankfully, they also brought in RDJ’s old collaborator Shane Black to write and direct—and if you appreciate Black’s work on movies like Kiss Kiss Bang Bang and The Nice Guys, you’ll easily warm to the cool, Hollywood tone of this one. 

Iron Man 3 also features one of the more controversial antagonists in the MCU—but if you’re willing to get past the diversion Black takes from the comics with him (no spoilers), he’s also one of the most fun.

Thor: The Dark World (2013)

Thor: The Dark World is one of the worst-reviewed movies in the MCU, but I think it’s better than you might remember it. Hiddleston’s performance as Loki, in particular, offers the first glimmers of the antihero we’ve come to know, and the brotherly conflict between him and Thor leans interestingly towards its Greek tragedy roots—watching it upon release, I was reminded a bit of Golum’s story arc during the Dead Marshes sequences in The Lord of the Rings: The Two Towers.

This is also the first movie that seemed to realise the character’s comedic potential—the images of Thor simply riding the London underground or trying to find somewhere to hang Mjolnir still make me chuckle.

Captain America: The Winter Soldier (2014)

The Russo brothers' first entry in the MCU, Captain America: The Winter Soldier, remains a high watermark for the franchise—a movie that drew from the paranoia of 1970s classics like The Parallax View and All the President’s Men to tell a story about spies, surveillance and conspiracies.

The final showdown remains one of the most outlandish and bombastic in the whole MCU, but the earlier sequences (including one phenomenal car chase and an incredible close-quarters fight in an elevator) raised the bar for superhero action scenes. 

Guardians of the Galaxy (2014)

By the time the MCU got to making Guardians of the Galaxy, their tenth movie in just over six years, fans had started to wonder what would happen when they ran out of familiar stories to tell. James Gunn, as we all now know, had all the answers—and if you’re a fan of the energy that he more recently brought to The Suicide Squad and Superman, you’ll want to go back and check this one out. 

Introducing Rocket, Groot, Gomorra and Drax as if we’d known them all our lives, the movie was an enormous, eye-poppingly inventive success and confirmed the deep bench that Marvel had at their disposal—both in front of and behind the camera. 

Avengers: Age of Ultron (2015)

It’s probably safe to say that Avengers: Age of Ultron is nobody's favourite Avengers movie. It’s a little messy and a little incoherent, with a final battle so inconsiderate of collateral damage that it basically changed the entire world of the franchise moving forward. If you’ve ever wondered what the hell a Sokovia Accord is, this isn’t one to skip. 

What it does have, however, is more of Joss Whedon’s snappy dialogue, including one iconic scene around Mjolnir. It also has the great James Spader hamming it up as a recently self-aware AI. You’re sure to get a kick out of it if you enjoyed him in films like Crash and Sex, Lies and Videotape.

Ant-Man (2015)

Given that the movie that went through a tricky production process (with Edgar Wright being replaced by Peyton Reed after disputes over creative differences), it’s impressive that Ant-Man ended up being so funny and light on its feet—imagine a mix between a Paul Rudd comedy (like Anchorman), an MCU adventure, and Honey, I Shrunk the Kids, and you’ll have some idea of what to expect.

Coming after the bombast of Age of Ultron, Reed’s movie also worked as a decompression chamber for the franchise, proving once again that these movies could switch through a wide variety of tones and moods while still feeling like one solid thing. 

PHASE 3

Captain America: Civil War (2016)

The Russos returned with Captain America: Civil War, a fan favourite in the franchise and the movie that triumphantly introduced both Chadwick Boseman’s Black Panther and Tom Holland’s Spider-Man to the MCU. This was also the movie that confirmed the Russos’ remarkable ability to balance the stories of various heroes over the course of a movie—something that fans of Community immediately recognised from the legendary, Russo-directed Paintball episodes. 

The plot focused on the rift between Cap and Tony after the events of Age of Ultron, perfectly setting up the narrative of Phase 3—still the undisputed best arc in the MCU. 

Doctor Strange (2016)

Doctor Strange’s introduction to the MCU is one of the most visually stunning movies in the franchise, not least the Mirror Dimension, a dazzling world that will be particularly pleasing to fans of Cristopher Nolan’s Inception.

Focusing on Dr. Steven Strange’s journey to becoming the master sorcerer, the movie never quite finds the right balance of charm and arrogance for the character, but in Mads Mikkelson’s Kaecilius, Tilda Swinton’s Ancient One and Benedict Wong’s, well, Wong, it boasts one of the most stacked supporting casts of any standalone MCU movie.

Guardians of the Galaxy Vol. 2 (2017)

If you loved the first Guardians of the Galaxy for its colourful production design, slow-motion fight sequences, and dad rock needle drops, you will probably love Guardians of the Galaxy Vol. 2—and naturally, if those things weren’t to your taste, it might be better to give this one a miss. 

Gunn’s return to the MCU doesn’t quite find the balance of sentimentality and absurdity that made its predecessor such a hit. Still, it definitely does have Kurt Russell—so if you’re a fan of the actor’s more outlandish performances (think Hateful Eight, Big Trouble in Little China), you’ll want to see what he gets up to in this. 

Spider-Man: Homecoming (2017)

After the endearing but slightly underwhelming Andrew Garfield years, and given the effort it took to bring the character into the MCU, the pressure was on John Watts to make Tom Holland’s first standalone Spider-Man movie really pop—and thankfully, it really, really did. 

Drawing inspiration more from John Hughes than Sam Raimi, Watts and Holland’s Spider-Man: Homecoming was the first webslinger movie that really made the character feel like a kid. Fans of ‘80s classics like The Breakfast Club and The Karate Kid will definitely find that this is the MCU movie for you.

Thor: Ragnarok (2017)

As we hinted at earlier in this list, it wasn’t until Taika Waititi’s excellent Thor: Ragnarok that the MCU fully embraced the character’s hilarious comedic potential. Like all the great standalone sequels, Ragnarok sees Thor face a crisis of confidence when he becomes stranded on a distant planet with The Hulk, Tessa Thompson’s Valkyrie and wonderfully evil antagonist played by the great Jeff Goldblum. 

The psychedelic designs of Gunn’s Guardians movies blend with the humour of Waititi’s other work, like What We Do in the Shadows, to create an irreverent package. 

Black Panther (2018)

Though other MCU movies had been recognised by the Academy for their achievements in visual effects, Ryan Coogler achieved the unthinkable in 2019 when his Black Panther was nominated for Best Picture—and if you appreciated Coogler’s recent movie Sinners, or his earlier work, like Creed, this is one you need to see.

Michael B. Jordan has appeared in every Coogler movie to date, but his performance here as the tragic villain, Killmonger, was one of the most compelling in the MCU. The movie itself—a phantasmagoria of African-inspired production design—was nothing short of a cultural phenomenon.

Avengers: Infinity War (2018)

If you appreciate a blockbuster movie that leaves you with an epic cliffhanger—think Empire Strikes Back, The Dark Knight or Across the Spider-Verse—you’re going to love Avengers: Infinity War. Directed by the Russos, this is the movie that finally brought the Guardians of the Galaxy, Tony Stark and Doctor Strange all onto the screen together while finally revealing Thanos, their greatest-ever foe.

The movie essentially works to provide the villain’s origin story, building to an epic battle in Wakanda and a finger snap that echoed around the universe. More on how it all resolves itself later…

Ant-Man and the Wasp (2018)

Given the monumental events of Infinity War, it made sense that the MCU would once again rely on Ant-Man to offer a little breather. The movie was released a few months later, but actually begins before the events of Infinity War—explaining why Scott Lang wasn’t around for the battle of Wakanda. 

Ant-Man and the Wasp was again directed by Peyton Reed and again featured the hilarious Michael Pena. If you ate up the humour of the first one, you’ll lap it up in this one, too. Just be warned, the Quantum Realm sequences are a bit overreliant on CGI. 

Captain Marvel (2019)

Similar to Steve Rogers’ first outing, Captain Marvel took viewers back in time. This one takes place in the 1990s, so it is roughly comparable to the throwback fun of movies like Wonder Woman 1984 or even Stranger Things.

The movie introduces Brie Larson’s Carol Danvers but also features a de-aged Samuel L. Jackson as the young Nick Fury—so if the idea of seeing a slightly uncanny version of the actor in a world where Blockbuster still exists appeals, you might get a nostalgic kick out of this one. 

Avengers: Endgame (2019)

Eleven years after the release of Iron Man, the MCU had its crowning achievement with Avengers: Endgame, a nostalgia-laced victory lap for the franchise that also managed to be its most exciting and emotional movie yet. If you’re especially fond of Evans’ Cap or RDJ’s Stark, it’s unmissable.

Directed again by the Russos, Endgame basically achieved the impossible feat of consolidating every storyline and character arc into one satisfying, action-packed whole—and all playing out over a gorgeous, cinematic score from the great Alan Silvestri. Nominated for Best Picture and briefly holding the record for most successful film of all time, it remains the high watermark of the series. 

Spider-Man: Far From Home (2019)

As the first movie post-Endgame, Spider-Man: Far From Home had every right to feel like a comedown; yet director John Watts managed to craft a wonderful, and even at times romantic, adventure from the movie’s European settings.

The film explores what life will be like for both Peter and Happy without Tony in the picture, building to a rousing shared moment of self-discovery, with Jake Gyllenhaal rounding out the excellent cast. If you like the idea of seeing Peter Parker swinging through the canals of Venice and London’s Tower Bridge, and if you like the humour of movies like EuroTrip, this is a holiday you’ll want to book into. 

PHASE 4

Black Widow (2021)

Phase 4 began with Cate Shortland’s Black Widow, a movie that took viewers back in time to offer a long-overdue origin story for Scarlett Johansson’s Natasha Romanov, while also introducing her sister Yelena, played by the excellent Florence Pugh. 

Like Winter Soldier, this is another MCU movie that took inspiration from Cold War espionage thrillers, as well as more recent spy movies like the Bourne Ultimatum and the Mission: Impossible series. The MCU had a shaky time in Phase 4, but Black Widow is arguably the most solid standalone movie of the bunch.

Shang-Chi and the Legend of the Ten Rings (2021)

Another interesting detour came with the Simu Liu-starring Shang-Chi and the Legend of the Ten Rings, the first martial arts and Wuxia-inflecting outing for the MCU. Naturally, lovers of movies like Crouching Tiger, Hidden Dragon and Hero will be right at home.

The story follows Shaun, a martial artist living in San Francisco whose family legacy is connected to the mysterious order of the Ten Rings. The legendary Michelle Yeoh and Tony Leung add extra prestige to a strong cast.

Eternals (2021)

As even the most devout Marvel fan will likely admit, Chloe Zhao’s Eternals represented a low point for the MCU. The Oscar-winning director managed to recruit a stellar cast but never quite found the appropriate tone for the movie, or a way of explaining why the group of celestials didn’t help out during the whole, you know, Thanos thing.

Either way, it’s nothing if not a curiosity—and if you’re a fan of Zhao’s best work (like Nomadland or the wonderful The Rider), you might be curious to see what went wrong here. If you do watch, make sure to stick around till the end for a bizarre cameo from one of the world’s biggest pop stars.

Spider-Man: No Way Home (2021)

By around the halfway point of Phase 4, the MCU started to tie itself up in some Multiversal narrative knots with series such as Loki and WandaVision. On the big screen, this allowed John Watts to do the unthinkable – bringing both Toby Maguire and Andrew Garfield back as Spider-Men in No Way Home, a movie that begins at exactly the point when Far From Home ends: with J. Jonah Jameson revealing the hero’s identity, leaving Peter to deal with the fallout.

Those returning stars are joined here by Willem Dafoe and Alfred Molina, among others, so needless to say, if you’re a Sam Raimi or Andrew Garfield diehard, this movie will feel like an absolute sugar rush. 

Doctor Strange in the Multiverse of Madness (2022)

Speaking of Sam Raimi, the MCU slipped slightly into the world of horror by giving the director the reins for the delightfully madcap Doctor Strange in the Multiverse of Madness. You’ll be familiar with some of the creepy little tricks he uses here if you’re a fan of Raimi’s Evil Dead movies. 

The story follows Strange’s attempts to fend off not only an out-of-control Wanda Maximoff (still reeling from the events of WandaVision) but also various versions of himself and a host of surprising cameos from earlier Marvel movies.

Thor: Love and Thunder (2022)

In 2022, Taiki Waititi made a hotly anticipated return to the MCU with Thor: Love and Thunder, bringing together the Norse God and the Guardians of the Galaxy (as well as Russell Crowe’s Zeus) for a bonkers shared adventure—one that switches up the synthy vibes of Ragnarok for the likes of Led Zeppelin and Guns ‘n’ Roses.

Fair to say, it doesn’t hit quite the same heights as its predecessor, but there’s plenty of fun to be had in the absurdity.

Black Panther: Wakanda Forever (2022)

In 2020, two years after Black Panther’s enormous success, the great Chadwick Boseman died tragically at the age of 42, leaving a gaping hole in not only the hearts of his fans but also the very centre of the MCU. This left director Ryan Coogler an enormously difficult task when he sat down to write Wakanda Forever, a movie that eventually had to split the difference between being both a moving tribute to Boseman and its own standalone action movie. 

Coogler’s movie achieves both; the latter thanks to a fascinating new antagonist (named Namor, from the mythical city of Atlantis) and some of the most kinetic and muscular action sequences (again, I was reminded of Creed) in the entire MCU.

PHASE 5

Ant-Man and the Wasp: Quantumania (2023)

I think most people would agree that 2023 was a difficult year for the MCU. It began with Ant-Man and the Wasp: Quantumania, a movie shot largely with green screens that also represented the point when most MCU fans began to feel what became known as ‘multiverse fatigue’. That said, if you can’t get enough of Rudd’s insect-sized superhero and don’t mind a world made of CGI images, you might still have some fun with it. 

The movie does have a fine central performance by Jonathan Majors as the antagonist, Kang, but given that the actor would have his contract terminated by Marvel Studios within the next year (after being taken to court by his ex-girlfriend for assault), it might be worth just passing on this one. 

Guardians of the Galaxy Vol. 3 (2023)

If you’re into James Gunn movies we’ve mentioned above (Superman and The Suicide Squad), you will definitely feel similarly about Guardians of the Galaxy Vol. 3, the third and final MCU movie he directed before jumping ship to helm the newly fangled DCU for Warner Bros..

The trilogy-capper focuses on Rocket Raccoon’s origin story while continuing the series’s recurring theme of found family and Gunn’s signature blend of sentimentality and gross-out absurdism.

The Marvels (2023)

With The Marvels, Candyman filmmaker Nia DeCosta became the first sole female director of an MCU movie—a long overdue achievement that was sadly a little overshadowed by the movie’s underperformance with both critics and at the box office.

DeCosta can hardly be blamed, as the movie’s subjects (Larsen’s Carol Danvers, Iman Vellani’s lively Ms. Marvel, and Teyonah Parris’ Monica Rambeau) are not exactly the most exciting characters—that said, if you’re a big fan of Captain Marvel and the Disney+ series Ms. Marvel, you’ll probably enjoy this team-up.

Deadpool & Wolverine (2024)

It only took eight years and one $71 billion acquisition, but Deadpool finally entered the MCU in 2024 in Shawn Levy’s Deadpool & Wolverine, a movie that will delight anyone with a nostalgic soft spot for the Fox-branded Marvel movies, such as X-Men, Blade, Fantastic Four, and even one that never existed.

Nobody seemed to know how Reynolds’ fourth-wall-breaking Merc would fit into Disney’s highly-specified world—but in the end, fans couldn’t get enough.

Captain America: Brave New World (2025)

Captain America: Brave New World will hopefully go down as the last “what went wrong?” movie of the Marvel Extended Universe. This was meant to be the standalone story that elevated Anthony Mackie’s Falcon-turned-Cap to the front of the Avengers—however, it seems as if production issues and re-writes left the movie DOA.

Following the death of William Hurt, this is at least the movie that prompted Marvel Studios to finally bring Harrison Ford into the fold, even allowing him to turn into a Red Hulk—so if you are a Ford mega-fan, you might enjoy seeing the 83-year-old do that.

Thunderbolts* (2025)

After a difficult patch, Marvel found a new groove and delivered a movie that felt like a breath of fresh air with Thunderbolts*—the kind of antihero team-up story that fans of movies like The Suicide Squad and Fast Five will easily warm to. 

The tightly-focused story brings together firm fan favourites, like Pugh’s Yelena Belova and Stan’s Bucky Barnes, with David Harbour’s Red Guardian and Lewis Pullman’s Sentry—each of whom give wonderfully thoughtful and vulnerable performances.

PHASE 6

Fantastic Four: First Steps (2025)

The pressure was really on Matt Shakman to deliver with Fantastic Four: First Steps. Yet, even though the box office was admittedly underwhelming, the movie itself was an absolute delight, especially for fans of retro-futurist capers like Pixar’s The Incredibles—a movie that probably borrowed as much from the original Fantastic Four comics as Shakman’s movie does from it. 

The story takes place in the 1960s on Earth 828, introducing Marvel’s first family, Galactus, and eventually Doctor Doom. Expect much more from him in the upcoming Avengers: Doomsday.

Spider-Man Brand New Day (July, 2026)

The next Phase Six movie scheduled to hit cinema screens is this summer’s hotly-anticipated Spider-Man: Brand New Day. This will be the first standalone film for Tom Holland’s webslinger not to be directed by John Watts. Instead, Shang-Chi helmer Dustin Daniel Crettin is taking the reins for a movie that will see the now anonymous Peter Parker fighting street-level crime.

This back-to-basics approach should be interesting after everything that’s happened with the character so far, not least the events of No Way Home—which ended with the world forgetting who he is. Holland will be joined on this new adventure by Jon Berenthal’s Punisher and Mark Ruffalo’s Hulk as well as a yet-to-be-revealed character played by Stranger Things breakout Sadie Sink.

Avengers: Doomsday (December, 2026)

When Avengers: Doomsday is released this December, it will have been over 7 years since the last MCU-wide teamup movie. Whether that’s enough time to build the same levels of anticipation will have to be seen, especially since Marvel had to go back to the drawing after deciding to part ways with Johnathan Major’s Kang as the story’s central villain. Whatever happens, longterm Marvel fans should be in for a treat given the involvement of both the original X-Men (26 years after their first appearances), including Patrick Stewart’s Charles Xavier and Ian McKellen’s Magneto, as well as a returning Steve Rogers—each of which were recently confirmed in the first batch of teasers. Will they be brought together by RDJ’s Dr. Doom or some other kind of multiversal shenanigans? We will all have to wait and see. 

Avengers: Secret Wars (December, 2027)

After the release of Avengers: Doomsday this December, the movie world will do something it hasn’t done since 2012: wait a full year for a new MCU movie. This suggests that Doomsday will likely end on an Infinity War level cliffhanger that will not be resolved until Avengers: Secret Wars is released at the end of 2027.

Naturally, outside of the Russos’ and Stephen McFreely’s involvement, we won’t know a great deal about it until at least the first movie is released. That is, aside from the fact that Avengers: Secret Wars will be the 40th movie in the MCU as we know it. Might it also be the last?

When it comes to sports films, especially combat sports films, the best approach is sometimes the grittiest. This goes for both the film’s aesthetic as well as the character’s behaviour—whether that means on the pitch, at the bookies or in the ring. 

One man who knows a thing or two about all that is Dwayne “The Rock” Johnson, an actor whose performance in Benny Safdie’s The Smashing Machine is easily amongst the best he’s ever given—and if Cristopher Nolan is to be believed, it’s amongst the best of the decade. The film hasn’t quite been to everybody’s taste, but it’s more a problem of pacing than any criticism of its wonderfully gritty style—a convincing recreation of the janky video footage of the original HBO doc that Safdie based his film on.

With Smashing Machine now in theatres, now is the right time to round up some of our other favourites from the sub-genre of gritty sports sagas. I’ve decided to leave out documentaries as we would probably be here all day—but if I had decided to include them, there would certainly be space for Hoop Dreams and Minding the Gap. The ten (plus change) that I’ve selected below have been arranged by some combination of grit and quality—more a gut feeling than anything else, if I’m being honest. Read on to discover more, and use the guide below to find them on services like AppleTV, Netflix, Prime Video and elsewhere.

10. Creed (2015)

Much like the film’s protagonist and director, nobody quite knew what to expect from Creed when it was announced in 2013, but it’s turned into something of a modern classic. Director Ryan Coogler was 27 when he got the job, and Michael B. Jordan was, at the time, probably best known for playing Wallace in The Wire. They’d worked together on Coogler’s breakout, Fruitvale Station, but Creed simply turned out to be a match made in heaven. 

We’ve placed the film a little low here because Coogler’s direction is just too masterfully clear to be considered really gritty. Nevertheless, if you appreciate the films he’s gone on to make with Jordan (like Black Panther and Sinners), this is one you’ll want to stick on fast!

9. Moneyball (2011)

Like Creed, Moneyball is a perfect film that would normally place higher on a similar list. When it comes to grit, however, this one is probably a little more on the nostalgic side—and yet, there are more than enough cluttered back rooms, heartbreaks and hard knocks in here to warrant at least a mention in the top ten.

Moneyball, which tells the story of how the Oakland Athletics used revolutionary data models to compete with financially stronger opponents in the early 00s, was written by Aaron Sorkin—so if you like the fast-talking vibe of films like The Social Network and Steve Jobs, I highly recommend checking this one out. 

8. The Fighter (2010)

There’s a reason why combat sports dominate this list, and it’s not just because they’re the place where people are most likely to lose blood. The Fighter is a boxing film, but it’s also about the kind of lives that a lot of boxers come from—predominantly working-class families and neighbourhoods where a tough outer shell is often needed to survive.

Case in point is David O. Russell’s The Fighter, the story of a boxer who hopes that success in the ring might be the glue to hold his family together. This is a great watch for fans of Russell’s actor-first approach—think films like American Hustle and Silver Linings Playbook. Indeed, both Christian Bale and Melissa Leo won Oscars for their performances. 

7. Warrior (2011)

A year after The Fighter, Gavin O’Connor (who executive-produced the original Smashing Machine doc) delivered the first great film about mixed martial arts. Warrior stars Joel Egerton and Tom Hardy as two brothers on a collision course: they’ve both entered a UFC tournament and, as the chips have fallen, might meet in the final.

This is a gripping sports film—especially for fans of Tom Hardy’s muscular performances in films like The Dark Knight Rises and Mad Max: Fury Road.

6. Foxcatcher (2014)

In 2014, Moneyball director Bennett Miller followed up that terrific film with another that deserves a shout in the pantheon of gritty sports sagas. Foxcatcher tells the true and tragic story of the Foxcatcher wrestling team, a vanity project paid for by the heir of a wealthy American family. As you might have guessed, it doesn’t go to plan.

If you’re a fan of Miller’s work, you’ll easily get into this one. But even if you’re not familiar, there’s plenty to enjoy—certainly for anyone who appreciates Mark Ruffalo and Channing Tatum, who are both excellent, but especially for fans of Steve Carell. The actor has simply never been creepier on screen, before or since. 

5. The Wrestler (2008)

It’s kind of simple: no Wrestler, no Smashing Machine. Mickey Rourke’s comeback story with this film feels so symbiotic to Johnson’s; it’s almost no surprise that both premiered in the same theatre in Venice, 17 years apart, nor that both actors were treated to a thunderous standing ovation.

The film, in which Rourke plays a washed-up fighter attempting to reconnect with his daughter, might be Darren Aronofsky's masterpiece—so if you like the director’s more recent films (Noah, mother! and Caught Stealing), you’re in for a good time.

4. Rocky (1976)

It was difficult to choose from the Rocky films, as most of them have at least a touch of Philadelphia grit about them. I’ve decided to punt for the original, however, because the film’s $1 million budget and New Hollywood aesthetic are pretty much adjacent to what directors like Martin Scorsese (think Taxi Driver) and William Friedkin (think The French Connection) were up to at that time.

The film is a sports classic for many reasons, so if you enjoy any of the underdog stories on this list or are a fan of the recent Creed trilogy, you must go back and watch it. 

3. Uncut Gems (2019)

While we’re talking about Safdie’s film, we of course have to acknowledge his last time out as director. Uncut Gems, which Safdie wrote and directed with his brother Josh, is the story of a gambler whose addiction to the rush of a long-shot parlays (what most bookies call accumulators over here) tends to get him into all sorts of trouble—much to the detriment of the nerves of anyone who chooses to watch this film.

This is honestly one of the best films of the last decade, and as an exploration of the grittiest side of the genre, it’s a tough one to beat—especially if you liked Safdie’s new one or are a fan of the brothers’ work together, like Heaven Knows What or Good Time.

2. The Hustler (1961) & The Colour of Money (1986)

For the second spot on this list, I’ve decided to go for two films that were released a quarter century apart: The Hustler and The Colour of Money. Both star Paul Newman as Fast Eddie Felson, a role for which he was twice nominated for an Oscar and, somewhat similar to his character in the film, even dared to win the second time. Both also focus on the game of pool but specifically pool sharks—a fact that gives these sports films the gritty edge of a con or a heist (think Matchstick Men or The Sting, another Newman classic).

I’m adding bonus points as Newman actually takes many of the shots, giving the action an electric charge and his monologue about being in the zone, the unmistakable glimmer of reality. Much the same can be said for Tom Cruise, who plays Eddie’s protege in the Martin Scorsese-directed sequel. Just wait till you see the actor prowl around the table here, spinning the cue like a samurai sword as he sinks pocket after pocket. Has an actor, or anyone else, ever looked more confident?

1. Raging Bull (1980)

It’s fitting that Martin Scorsese would be mentioned so frequently on this list. His 1980 boxing film Raging Bull, which won De Niro his only Oscar for a lead performance, is widely considered one of the best films ever made. The most famous image—the one of De Niro’s Jake LaMotta leaning bloody and battered on the ropes—is not exactly what you’d call gritty, but it’s the operatic quality of those moments that makes the stark, gritty world around him feel so weirdly sublime. 

This is the kind of film that probably needs no introduction, but on the off chance you’ve yet to see it, imagine a mix of Rocky and On the Waterfront—a movie that easily would’ve made the cut here if it featured a little more boxing.

Horror films are typically old from the perspective of their victims. This is partly so you can sympathise with them, and partly to amp up the terror of the unknown – the thing that’s the object of their fear. Not knowing where the killer is – human or inhuman – or what they’re planning, are the building blocks of the genre, allowing creators to build suspense in an audience who are as in the dark as the terrorised protagonists are about when and where danger is going to spring from next.  

But where there are conventions, there are films that tear them apart. Good Boy, for instance, is a new horror film told entirely from the perspective of a dog brought by its owner to an isolated home where things start going bump in the night. It’s a point of view that certainly puts a new spin on the creakingly old haunted house set-up, but the film isn’t the only time the horror genre has shifted the focus to an unusual place. If you’re interested in other movies that are either consistently or partly told through the (sometimes literal) eyes of the villain or a non-human entity, take a look at Good Boy and these other trend-buckers we’ve rounded up.

1. Good Boy (2025)

If you’ve seen a good amount of horror, you’ll know that when a dog starts barking at seemingly nothing at all, you need to start worrying. Often, this results in these furry alarm bells sadly being the first to get bumped off as a warning sign of what’s to come, but in Good Boy, the horror movie dog finally gets to be the hero.

In the film, retriever Indy is moved to his owner, Todd’s deceased grandfather’s house in the woods. Todd is suffering from a chronic health disease, and things get worse when Indy notices a dark, muddy figure watching them from the shadows. It’s a hook that could quickly lose its impact, but a lean runtime of 72 minutes and a re-bark-able (sorry) performance from director Ben Leonberg’s actual dog as a loyal-to-the-end companion in the face of abject dread is one of the best on-screen assurances of who Man’s Best Friend truly is.

2. Presence (2024)

It’s near-impossible to discuss Presence in this context without spoiling it, so if you’re really keen on watching it without knowing much going in, I’d recommend skipping to the next entry, or to where you can stream the film further below; I promise, it’s worth it!

… For those still reading, the gimmick here is that it’s told from the POV of a ghost, and unlike Good Boy, knowing that at the top could significantly lessen the film’s impact rather than creating a selling point for it. Perhaps the most interesting thing about Presence is that there’s sort of a double-twist at play: not only do you see everything through the eyes of someone already dead, but it’s also revealed that they’re a victim/protagonist, not a villain. The film is also eerily crafted, drifting in and out of scenes to mimic the sensation of a spirit drifting in and out of existence, and directed with uncharacteristic restraint by Steven Soderbergh to capture realistic performances in a fly-on-the-wall way.

3. Halloween (1978)

While the sequences are fleeting, it’s hard not to talk about unusual perspectives in horror films without mentioning the original Halloween. John Carpenter’s foundational slasher movie is at the height of its lurid power right from the get-go, thanks to the director’s decision to force the audience to watch through the eyes of future serial killer Michael Myers while he butchers his older sister. The feeling of ‘floating’ through the scene was achieved thanks to new camera technology at the time – a masterful blending of the technical and creative.

The real stinger, however, is the reveal at the end of the sequence, leaving Michael’s POV to show that he’s just a small child – the seeds of evil he was seemingly born with already sprouting. Trapping us in this perspective makes us feel complicit in his actions, and though we stay with Final Girl Laurie Strode for the rest of the film, that strange connection formed with her stalker at the start never leaves the back of your mind.  

4. In A Violent Nature (2024)

In A Violent Nature plays essentially like an unofficial Friday the 13th sequel, but one where you follow Jason Vorhees around instead of a group of not-so-innocent teens. Part of the ‘slow’ or ‘ambient’ horror niche, the film is one of the most unexpectedly relaxing slashers you’ll ever see, with long stretches of simply wandering through woods with the silent killer. These are, of course, punctuated by unflinchingly brutal kills, made all the more shocking in contrast.

This is definitely a Marmite one – if you go in knowing what to expect, you’ll be able to appreciate its experimentalism, but those seeking a more traditional, slice ‘n’ dice thrill ride may be left bored. The gore is certainly not for the faint of heart, though.

5.  Peeping Tom (1960)

No list of films told from a unique or unusual perspective would be complete without the once-derided and now-lauded British classic Peeping Tom. The film emphasises the voyeuristic nature of the camera by telling its story through the point of view of a deranged murderer who is using one to make a snuff film: stalking and killing women, and filming their final moments.

Unfortunately for director/producer Michael Powell, Peeping Tom did its job a bit too well for critics at the time, who widely panned it as perverse and exploitative. As is often the case, it only took a decade or so for Powell’s film to be reevaluated as a fevered commentary on the nature of cinema as spectatorship rather than a realistic endorsement of its villain’s actions. It makes for a disturbing double-bill with Psycho, both proto-slashers about disturbed young men.

6. Maniac (2012)

Fusing the houses of ‘grind’ and ‘art’, Maniac is an experimental splatterfest that’s part Hardcore Henry and part Terrifier. Like he did in Sin City, Elijah Wood plays against type as a killer whose mummy issues manifest in a violent desire to collect women’s scalps and hair for his mannequin collection. 

Shot almost entirely from Wood’s character’s first-person viewpoint, the making of Maniac is as interesting to read about as the film is to watch, with Wood unusually needing to be on set throughout the four-week shoot while director of photography Maxime Alexandre hovered almost constantly at his shoulder. Director Franck Khalfoun said he wanted to go one step further than films like Peeping Tom: “I wanted the audience to feel trapped in his body. [...] You are therefore at the same time complicit and repulsed. Therein lies the horror."

7. The Evil Dead (1981)

Sam Raimi’s debut feature is famous for a lot of things: it helped popularise the cabin in the woods setting for horror films, had a torturous, run-and-gun production, kicked off a long-running media franchise, and launched Raimi and Bruce Campbell’s careers as cult figures. For this list, however, we’re mainly interested in its innovative POV shots.

These shots mimic the weightless feeling of some sinister, bodiless force rushing through the woods, which were achieved – without the cash-strapped crew having access to a dolly – by mounting the camera to a bike, a piece of wood, or sometimes held by a sprinting, jumping Raimi himself. One scene involving a woman and a demonic tree still raises eyebrows, but The Evil Dead remains a standout in an era when horror films were getting more creatively gnarly.

8. Rubber (2010)

Much like In A Violent Nature, a film told from the POV of a killer tyre is either something you’ll love or hate. Defined by Wikipedia as an “absurdist French horror comedy”, which I think says it all, Rubber follows Robert, a tyre (yes, tyre) who rolls around the Californian deserts using his psychic powers to explode people who cross him. There’s a strong whiff of Stephen King at play, specifically things like Christine and Cujo, but don’t expect any Kingsian lore or hints at a wider universe: Rubber is more metaphorical than mystical.

The film also doesn’t quite sustain its gimmick over a feature-length runtime as well as Good Boy does, and you may find its tone more grating – “intellectual wankery”, as one critic more unkindly put it. However, anyone intrigued by obscure foreign-language cinema that has to be seen to be believed should get a kick out of it.

Like every October, scary season is back. That means last-minute costumes, spooky decorations, and reminders of some things we would rather forget. It’s that time of year when the dark corner of the bedroom starts to feel a little suspect and that pile of clothes on your chair suddenly looks a little different than before…

But we’re getting ahead of ourselves. The following scenes and moments—which I have masochistically ranked in order of fear and longevity—are the bits and pieces of horror movies that have lived rent-free in my mind ever since I first saw them. Some will be on many similar lists, and some will probably not—this is entirely personal—yet each one still haunts me to my core, in one way or another. Read on if you dare, mwuahahahaha, and use the guide below to find them on services like AppleTV, Netflix, Prime Video and elsewhere.

10. All Of The Smiles - Smile (2022)

I always find that a good measure for how scary a horror movie is is how afraid I am to go to the bathroom in the middle of the night. Do I check behind the door? Do I try not to think about what’s behind the shower curtain? Do I hum a little tune to distract myself? How swiftly do I make my way back to my room? You know: just totally normal, grown-up behaviour.

The most recent movies that’ve had a lasting impression on my late-night bathroom trips are Parker Finn’s Smile and Smile 2—especially the memory of all those horrifying, unmoving, beaming faces that appear throughout Finn’s excellent directorial debut, and his equally good sequel. These are the kinds of movies that fans of sharp, cleanly directed horror will love—more in line with the likes of Midsommar and Get Out than the crueller side of the genre. They’re the first I’ll mention here, as three years is a short amount of time in the horror world—though I don’t doubt that they’ll be lodged in my brain for a few more, at least. 

9. “Take Off Your Wigs” - The Witches (1990)

I had to put at least one childhood trauma on this list, and while Tim Curry’s Pennywise looking up from a sewer drain in It definitely scared the living hell out of me when I was way too young to have seen it, Angelica Huston’s transformation in The Witches (a horror, like Hocus Pocus or Beetlejuice, that younger members of the family might enjoy) has for some reason lingered in the memory more. 

These days, it’s nice to be able to appreciate the movie for its cinematic qualities. The scene and the wider movie were directed by the legendary filmmaker Nicolas Roeg, who used wide-angle lenses to warp the witches' already terrifying faces—all of which were designed by Jim Henson’s legendary ‘Creature Shop’. 

But good luck explaining that to a child who’s just seen it for the first time. Indeed, ask anyone who grew up in the 1990s and they’ll likely tell you that these images were burned onto their retinas.

8. The Birthday Party - Signs (2002)

As someone who resolutely goes to the theatre for any new release from M. Night Shyamalan, the director’s early run of movies has come to feel like sacred texts. This definitely goes for The Sixth Sense and Unbreakable (both of which I’d also highly recommend), but my favourite will always be his 2002 movie Signs—a story about a family, a farm, and a rather under-researched alien invasion. 

The movie itself is not the kind to make you lose sleep, but nobody who’s seen Signs will ever forget the movie’s jaw-dropping reveal. In true M. Night fashion, this is a story that toys with its characters’ beliefs and uncertainties, building to a shock moment of found footage from a child’s birthday party—it won’t be the last one on this list. 

7. The Roof Scuttle - Hereditary (2018)

Ari Aster’s Hereditary is a notoriously terrifying movie for many reasons. There is the main character’s ever-approaching work deadline—a classic Aster anxiety-inducer. There is the suggestion of a cabal of freaky old people. There’s the fateful meeting of a child’s head and a telephone pole. But the absolute worst, of course, is the moment when a character lingers on the roof, in a decidedly inhuman position, before scuttling away into some unseen corner.

There are plenty of factors that made Hereditary a sensation, a movie that announced both Aster as a visionary director (and if you like Midsommar and Eddington, definitely check it out) and A24 as an indie powerhouse in one foul scuttle. However, that moment is the one that has lingered with me the longest. 

6. Damien’s Birthday Party - The Omen (1976)

As promised, another joyful gathering of children to witness a scene more suited to our nightmares. This time, it's little Damien's birthday in Richard Donner’s The Omen, which naturally was the last movie Donner made before moving on to joyful things like Superman, The Goonies, and the Lethal Weapon franchise. 

That’s a rather peculiar career path, but Donner’s direction probably helps to explain (alongside the presence of the great Gregory Peck) why The Omen is still viewed as a classy horror—not quite on the same level as The Exorcist or Carrie, but certainly playing in a similar ballpark. And this sequence, which ends rather badly for Damien’s nanny (not that you can tell from the horrifying delight in her face), definitely deserves some credit for that legacy. 

5. The Bathroom Scene - The Shining (1980)

If, like me, you watched The Shining at a relatively young age, you can probably list off quite a few moments that stuck with you: the twins in the hallway, Danny’s shocked expression, the “you’ve always been here” guy, and so on, so forth. If somehow you’ve yet to see it, this is a Kubrick movie on par with Eyes Wide Shut and A Clockwork Orange—you know, the spookier end of the director’s canon.

The award for most f-ed up sequence will, of course (yes, the blowjob bear is close second) always go to the women in the bathtub. The scene may not have aged the best—it’s definitely on the creepy side from Jack’s POV, not to mention a little ageist—but as one of cinema’s freakiest moments, it certainly deserves its infamy. 

4. The Tall Man - It Follows (2015)

Speaking of f-ed up sequences, there are more than a few that linger with you in David Robert Mitchell’s exceptional It Follows. This is a movie from the early days of A24, but it’s also one of the studio’s most surreal movies—think less Hereditary and more I Saw the TV Glow, and you’ll have some idea of what to expect.

The movie is historically significant for Mitchel’s inventive trick of allowing the camera to pan around a 360-degree pivot, allowing the viewer to start to worry about which of the various people we see is actually the one following. However, the most terrifying moment comes when Maika Monroe’s Jay is first caught up with, in a house with friends, late at night, when a figure emerges out of nowhere and fills the hallway. That he’s now referred to as “The Tall Man” is enough to send a shiver down my spine. 

3. The Ending - The Blair Witch Project (1999)

Given the hype and the proto-viral marketing campaign that made The Blair Witch Project such a phenomenal success, it’s amazing that its horrors are still so potent today. Maybe it’s because the actors never really appeared in anything else—a quirk that has helped to maintain the movie’s haunting mood for over a quarter of a century now.

This was the first found footage horror movie to really make a mark, so if you liked Paranormal Activity or [Rec], it’s one you’ll want to see. Just be ready for the final seconds, when all those hopeful uncertainties slip away, and you’re left glued to your seat with nothing but the terror. 

2. The Mirror Scene - Ringu 2 (1999)

Rewatching this scene from Ringu 2 just now, probably for the first time in ten years, I’m still not sure which part scares me the most. There’s the connection to the video in the first Ringu, of course, which lets you know you’re not in a safe place. There’s the arrival of Sadako, shuffling up just out of the main character’s eyeline. Of course, there’s the awful stillness in the woman’s expression as she brushes her hair again, and again, and again.

All decidedly creepy, but nothing has stuck with me in quite the same way as what the woman does next—suddenly gliding behind the door, getting too close to the camera for comfort, and then a steady, nightmarish shift around the corner so that she’s suddenly, horrifyingly, right in front of you. 

I think it’s worth noting that this movie was released before an infamous moment in David Lynch’s Mulholland Drive—I had thought about including that one in this list, but if Ringu 2 got there first, then credit where credit’s due. 

1. The Phone Call - Audition (2000)

It seems like the turn of the millennium was a brilliant time for horror in Japan. A few months after Ringu 2, Takeshi Miike’s Audition was released in theatres. The movie gives its anti-heroine a vengeful, feminist twist, arguably offering a link between the woman-as-force-of-nature vibe of movies like Carrie and Possession and the trauma-coded horror of today. 

Of course, Miike probably didn’t have all that in mind when he made it. What the great director did have, however, was the patience of a saint: almost nothing scary happens in the film’s opening hour, so all the grizzliest bits are saved for the very end, which makes them all the more potent. That slow, worrying buildup means that the first taste of terror we get, a scene focused on a simple phone call, is literally unforgettable—one of the greatest shocks in the history of cinema. 

UK residents looking to find their next favourite series could do worse than a quick rummage in the vaults of the BBC iPlayer. The national broadcaster has been producing shows forever, simultaneously discovering and promoting some of the best talent in British television in the process, while more recently collaborating on several widely acclaimed co-productions from around the world.

Feeling the squeeze of all those streaming fees? Wondering where all that license money is being spent? These ten acclaimed TV shows hiding in plain sight on the platform might provide the answers.

Industry (2020-)

It might be stretching the concept of the ‘hidden gem’ to include Industry on this list. The show, which recently wrapped filming on its upcoming fourth season, was one of the most talked about last year—and yet, there are still reasons to believe it might be flying under the radar, not least given its shutout at the Emmys. 

Created by Mikey Down and Konrad Kay (who met in Oxford before briefly working together in finance), the show delves into the depraved, drug-addled, and dog-eat-dog world of young traders attempting to climb the ranks in London’s financial district. Imagine if Succession and Skins had a baby, and you’ll have some idea of what to expect.

Ludwig (2024)

If you want an idea of the protagonist of Ludwig, just imagine what Sherlock Holmes would have been like if Arthur Conan Doyle spent all his free time on the New York Times’ games app. 

Played by David Mitchell in full Boomer-luddite mode, the eponymous character is a well-known crossword designer who steps into the shoes of his identical twin brother—a hotshot detective seemingly at the centre of a conspiracy—when the man goes missing, only to discover that his mercurial talents are as applicable to solving crimes as solving Wordle.

It’s a show that works as both a fish-out-of-water comedy (a perfect fit for Mitchell’s unique skills) and a cleverly written case-per-episode procedural where trying to solve the puzzle is all part of the fun. 

Fleabag (2016-2019)

Sharp, funny and painfully relatable, Fleabag is the show that made Phoebe Waller-Bridge’s name and ensured that the great Andrew Scott would forever be known as the “Sexy Priest.” It’s also so wildly influential around the world that you could almost forget that the whole thing is available for free on the BBC. 

Thanks to its fourth-wall breaking, tell-all approach, the first season arrived like a breath of fresh air, but the second—which reached another level, creatively—now feels like a modern classic, and while Waller-Bridge has since appeared in Star Wars and Indiana Jones, in terms of her cultural impact, Fleabag is yet to be topped. 

Small Axe (2020)

It was difficult to know what to expect when Steve McQueen announced that he would take a break from theatrical filmmaking to make a five-part anthology show for the BBC. 

The resulting series, Small Axe, notably his first commercial project set in England, is a richly textured exploration of London’s West Indian communities set during McQueen’s time growing up there and has some of the most deeply felt moments of the famously austere director’s career. 

Each standalone story is worth seeing, of course, but if you can only see one, it should be Lover’s Rock, an ecstatic tribute to the communal power of music. 

The Narrow Road to the Deep North (2025)

Since breaking out in The Kissing Booth and Euphoria, Jacob Elordi has become one of the most interesting and sought-after young actors around—working with the likes of Paul Schrader and Sofia Coppola while still finding time to blow up the internet with movies like Saltburn. 

He reunites with that movie’s director in 2026’s Wuthering Heights, but fans eager for a taste of him in period swooning mode should try this sumptuous series from celebrated director (and fellow Aussie) Justin Kurzel. 

Based on Richard Flanagan’s 2014 Booker-winning novel, The Narrow Road to the Deep North takes place over three time periods—before, during and after the Second World War—following a young medical student (Elordi) who gets captured and imprisoned in a Japanese labour camp.

Such Brave Girls (2023-)

I was recently put on to Kat Sadler’s dangerously unhinged Such Brave Girls after reading a recommendation from the great Lena Dunham, who accurately described it as “charming, joyful and gross.” 

Over two seasons, Sadler and her real-life sister play—at least as far as I can gather—depraved versions of their younger selves. It’s set in an English housing estate and pokes fun at some of the most delicate topics imaginable. To say which ones would kind of ruin the provocative jolt you get from first hearing them. Needless to say, it’s not for the faint of heart, but it is viciously funny. 

Wolf Hall (2015-2024)

In 2019, The Guardian ranked Hilary Mantel’s Wolf Hall the best book of the 21st Century. The novel is the first of a trilogy that tells the story of the rise and fall of Oliver Cromwell, one of the most disputed characters in English history. Combined, the three books amount to roughly 2,000 pages, but the 2015 series (which covers the first two) and its 2024 follow-up are a mere 12 episodes long. 

They also feature the mighty Mark Rylance and an excellent supporting cast, including Damien Lewis and Claire Foy, all of which can be found free to watch (with a TV licence, of course) on the BBC streamer if, like me, you haven’t yet found the time to tackle Mantel’s epic tome just yet.

Dopesick (2021)

Dopesick is one of the most topical, harrowing and compelling shows in recent years, and it will absolutely tear your heart out. Based on the 2018 novel of the same name, it tracks the rise of the opioid epidemic in the United States through both the story of the Sackler family and their company, Purdue Pharma, and the eyes of some of their victims. 

These include a local doctor in a small mining town (Michael Keaton, who won an Emmy for his incredible performance) and one of his patients (Kaitlyn Dever, who was also nominated). It’s a tough watch at times, but a gripping and possibly essential one. 

I May Destroy You (2020)

It’s not difficult to understand why Michaela Cole has taken so long to follow up, I May Destroy You—one of the best shows of the decade. 

The story of a woman trying to get her life back to some kind of normality in the aftermath of sexual assault is so raw and so personal, it’s no surprise that its creator (who became the first Black woman to win the Emmy for writing) and star have gone a bit under the radar ever since. 

Sure, she entered the MCU in Black Panther: Wakanda Forever, but I May Destroy You remains her most influential work. If you haven’t already, it’s a must-watch. 

Normal People (2020)

Seeing as we’re stretching the definition, can an Emmy-nominated, Bafta-winning, wildly popular sensation be classed as a hidden gem? Perhaps not, but it is easy to forget that Lenny Abrahamson and Hettie McDonald’s celebrated adaptation of Normal People, Sally Rooney’s generational best-seller, was once a mid-sized BBC co-production with a relatively unknown cast – and is still readily available on iPlayer anytime.

Whatever the case, it’s also never a bad time to rewatch it. I probably don’t need to mention the two careers that it helped to launch, but I will say that the novel’s time-hopping chapters lend themselves beautifully to the format of a miniseries—the last episode of which never fails to make me cry.

With spooky season now fully upon us, what better time to look back over the greatest ‘Final Girls’ in cinema? The term is used in horror cinema to describe the trope of a young (at least at first) woman, and generally innocent character who, through hook or crook, makes it out of the movie alive. The term was coined by Carol J. Clover in her 1992 book, Men, Women and Chain Saws and has since made its way into the horror lexicon. 

After much soul searching and consternation, I’ve decided to rank them here by a mix of cultural impact and longevity—both on and off the screen. Read on to discover more about each one (there are naturally some spoilers ahead) and use the guide below to find out which ones to watch from each of their various catalogues—and, of course, to find them on services like AppleTV, Netflix, Prime Video and elsewhere.

Honourable Mention: Carrie - Carrie (1976)

We’ll start with a slight cheat: of course, there’s a suggestion that Carrie rises from the grave at the end of Brian DePalma’s eerie 1976 masterpiece, but the dreamlike nature of that coda (which the director shot night for day, and in reverse, just to make it look weird) leaves it a little unclear if Sissy Spacek’s heroine actually survives.

Regardless, Carrie certainly outlives most of the other characters in the movie, so she more than deserves a mention here. The film is for fans of DePalma’s early stuff or other stylish horror from that era—think Body Double or Dressed to Kill, but with a bit of Suspiria on top.

9. Sam & Tara Carpenter - Scream (2022-2023)

After two successful legacy sequels, Scream and Scream VI, it seemed like Sam and Tara Carpenter (played by Melissa Barrera and Jenna Ortega, respectively) were in it for the long haul. Sadly, due to some questionable decisions by the studio, the actresses won’t be returning for next year’s Scream 7. Our loss.

Whatever happens in the future, however, Ortega and Barrera certainly left their mark on the franchise—surviving two rounds of Ghostfaces and uncovering some uncomfortable family secrets along the way. Scream (or Scream 5, if you prefer) is the best of the two—naturally for fans of Ortega – but also for anyone who enjoyed Mikey Madison’s Oscar-winning turn in Anora and wants to see the performance that landed her that role.

8. Sienna Shaw & Victoria Heyes  - Terrifier (2016-2024)

When Terrifier was released, shocking audiences on the horror festival circuit before becoming a genuine cult sensation and crossover hit, it wasn’t exactly clear if Damien Leone’s sadistic series would be capable of letting anyone survive. As it turned out, Terrifier now has two final girls… sort of.

Victoria Heyes only just survives Art’s rampage in the first movie, but the experience leaves her so disfigured and psychologically deranged that she ends up returning in the second and third movies as a killer as well—the Harley Quinn to his Joker, or something like that. Sienna Shaw, on the other hand, has now survived the last two movies and looks more likely to be the standard Final Girl of the series going forward.

If you’ve yet to see the Terrifier movies, be warned: they are not for the faint of heart. But if you like your gore a little on the extreme side (think Martyrs, Bone Tomahawk), you might be just the kind of sicko who’ll enjoy it.

7. Julie Hames - I Know What You Did Last Summer (1997-2025)

Jennifer Love Hewitt’s Julie Hames probably wouldn’t have made it this high on the list without her reappearance in the (IMO quite underrated) I Know What You Did Last Summer legacy sequel last year—but we are in the longevity business here, and 28 years is nothing to be sniffed at.

The movie, like its predecessors, didn’t exactly reinvent the wheel, but if you appreciated the first two movies (hot young people, seaside locations, surprisingly decent camera work, a weirdly unimaginative killer), it kinda ticked all the boxes. Think of a less creative Scream and you’ll know where to set your expectation levels. 

6. Maxine Minx - X (2022-2024)

Mia Goth’s iconic performances in Ty West’s X trilogy feel so interconnected, you almost forget that Maxine Minx doesn’t appear in the second instalment. Without question, though, the character remains the stylish horror franchise’s Final Girl and, alongside Art, has been one of the greatest additions to the horror canon in recent years.

I’d highly recommend all three of these movies. X if you like classic exploitation like Texas Chain Saw Massacre; MaXXXine, if you like the Hollywood vibes of Scream 3. However, if you can only see one, it’s just gotta be Pearl—a dazzling combination of modern horror and classic Hollywood that kinda looks like what would happen if Carrie and The Wizard of Oz had a baby.

5. Nancy Thomson - A Nightmare on Elm Street (1984-1994)

The original A Nightmare on Elm Street was such an enormous success that you can hardly blame New Line Cinema for wanting to cash in on the franchise—and fast. Unfortunately for fans, that also meant a steep drop in quality in later instalments. That said, if you want to know which ones to check out, there’s a simple way to do so: just look for Wes Craven’s name in the credits.

Those titles also happen to be the only movies in the franchise to feature the series’ true Final Girl, Nancy Thompson: you can find her in the original, of course, and in Craven’s remarkable 1994, proto-Scream experiment, New Nightmare, but the real ones know that the series peaked with 1987’s Dream Warriors—an ideal recommendation for fans of ‘80s aesthetics (think Joe Dante) and inventive kills (think Cabin in the Woods).

4. Sally Hardesty - The Texas Chain Saw Massacre (1974)

The best thing a Final Girl can do is reappear. That said, we must make an exception for Sally Hardesty in The Texas Chain Saw Massacre. This is a character that basically helped invent the idea. No visual lexicon of the Final Girl would be complete without the immortal image of her soaked in blood at the film’s close, laughing maniacally in the back of a pickup truck as it pulls away, just in time to save her from the swing of Leatherface’s chainsaw (as it is famously not spelt in the title). 

Needless to say, Tobe Hooper’s movie is a masterpiece that I can’t recommend highly enough, especially for fans of exploitation movies like Last House on the Left, but also fans of Stanley Kubrick’s The Shining. The legendary director is said to have considered it one of his favourite movies of all time. 

3. Sydney Prescott & Gale Weathers - Scream (1996-2026)

Like the more recent Carpenter sisters (a nod to John that I’ve only just noticed), Scream has always been the franchise that gave you two Final Girls instead of one. Scream 7’s release in early 2026 marks 30 years since Neve Campbell’s Sydney and Courtney Cox’s Gale Weathers first appeared on screen, ducking and diving their way around Ghostface’s hunting knife and somehow always living to tell the tale.

Since then, the duo have appeared together in all but one of the franchise’s instalments, with Gale being the only character to have appeared in all. Choosing which to watch from the series is tricky: you really can’t go wrong with 1 and 2, the genius meta horror and its own meta sequel, but make sure not to sleep on 3—its Hollywood studio setting is a total blast, especially for fans of Craven’s New Nightmare.

2. Ellen Ripley - Alien (1979-1997)

As the kind of true story famously goes, the character of Ripley was originally intended to be a man. Lucky for us, a then-unknown Sigourney Weaver tried out for the part, and the rest is history. The character made it through Ridley Scott’s original Alien by the skin of her teeth but became a fully fledged action heroine in the mother v mother showdown at the climax of James Cameron’s sequel.

Ripley would eventually appear in various ways over four Alien movies (and are we really ruling out a return at some point?), but if I had to choose one to take to the grave, it would have to be Cameron’s—a perfect movie if ever there was one, especially for anyone who likes the director’s first two Terminator movies.  

1. Laurie Strode - Halloween (1978-2022)

This was a tough, tough call. There frankly aren’t as many great movies in the Halloween franchise as some other series on this list, but seven appearances and 44 years are the kind of numbers we just can’t ignore. Laurie also gets bonus points for being played by Jamie Lee Curtis, the daughter of Janet Leigh, an actress whose performance in Psycho helped to coin the term “scream queen”.

If you can only see one, it’s gotta be the John Carpenter original, a movie that basically invented the slasher genre. However, if you’re feeling a bit adventurous, why not give Tommy Lee Wallace’s absolutely bonkers Halloween III: Season of the Witch a try? The movie features neither Curtis nor Michael Myers, but it does have androids and haunted masks and some batshit connection to Stonehenge. Writing for the New York Times in 1982, the late Vincent Canby noted, “Halloween III manages the not easy feat of being anti-children, anti-capitalism, anti-television and anti-Irish all at the same time.” As an Irish person, I politely disagree.

Few manga and anime properties in the 2000s had the impact that Tsugumi Ohba and Takeshi Obata’s Death Note did. A supernatural psychological thriller, the series follows teen genius Light Yagami, whose discovery of a shinigami’s (death god) ‘Death Note’, an artefact that kills anyone whose name is written in it, inspires him to rid the world of criminals.

Hyped up on god-like power, Light assumes the moniker ‘Kira’ to protect his identity and feed into his mystique. His judge, jury, and executioner arc soon catches the attention of teen detective ‘L,’ developing the plot into a gripping cat-and-mouse game between the pair. Tense and philosophical, it’s no wonder the manga has been adapted many times into TV and film. 

Though old enough to be considered a modern classic now, it’s never too late to get acquainted with Death Note, whether you’re new to anime or well-versed in it. For those in the latter camp, good tonal comparison points are the darkly mysterious Monster, The Promised Neverland, and Erased, while Light and L’s dynamic is mirrored in the Sherlockian Moriarty the Patriot, which also puts the spotlight on the villain. Those in the former who are into neo-noir crime tales like Dexter and Hannibal, especially with a supernatural bent, will find strong crossover appeal. 

The best way to watch the franchise is in release order; use the guide below to find out more about each entry, and whether they’re worth seeking out.      

Death Note (2006-2007)

The first adaptation of Death Note was a TV anime series. Spanning 37 episodes, the show was split into two parts that aired in both Japanese and English without a break; a division that makes sense for the source material, which contains a dramatic mid-story twist that effectively resets all the pieces on the board.

Except for the original manga, Death Note remains the strongest piece of franchise media to date, bringing Light and L’s inner monologues and tense exchanges to life with melodramatic animation and voice acting that are iconic beyond manga and anime fandom. It’s also the most widely available iteration online, making it easy to jump into right away. 

The series was popular enough to garner two subsequent TV films, Death Note Relight - Visions of a God and Death Note Relight 2 - L's Successors, which are director’s cuts summarising the series, plus some added scenes. Only those needing to scratch that completionist itch need bother with them, however.     

Death Note (2006)

The first of a series of Japanese live-action films, Death Note (2006) stars Battle Royale’s Tatsuya Fujiwara as Light and character actor Kenichi Matsuyama as L. It introduces the premise and sets the two up as adversaries, ending with a cameo from Light’s unrequited love interest, the doting model Misa Amane. 

While well-plotted, acted, and mostly faithful to the source material, the film makes a few changes that become more pronounced over its runtime. These include making Light a bit older (university-aged rather than a high school student), adding new Death Note rules, new characters, and an original climactic scene. Despite this, the film still captures the tone and characters of the original story well enough that if you only watch one live-action version of Death Note, this is the one I’d recommend the most, particularly if you enjoy J-horror more generally.

Death Note 2: The Last Name (2006)

The sequel to the 2006 live-action Death Note film was released just a few months later and picks up where the first left off. Misa Amane takes a central role as a co-conspirator of Light/Kira, equipped with her own Death Note. As Light joins the very task force formed to stop him, he uses Misa to throw suspicion from L off of him.

Like the first film, Death Note 2: The Last Name is plotted tightly and darkly enough to build suspense and intrigue, carried by a strong cast. However, further story departures from the manga’s ending may rankle fans who prize faithfulness over originality.

L: Change the World (2008)

As indicated by the title, this spinoff of Death Note 2: The Last Name focuses entirely on L and his final case before the end of that film. That case involves thwarting a terrorist organisation in possession of an engineered virus, the deadliest known to man.

L: Change the World doesn’t add anything new to the Death Note franchise, but if you’re a fan of L, in particular, it’s a nice opportunity to spend time with him outside of the Kira case. It also brings one of his young proteges, Near, into the Japanese film universe, and received a highly popular light novel adaptation. The latter is a great collector’s item alone for its gorgeous illustrations from the original manga artist.

Death Note (2015)

While a live-action Death Note TV series has been in the works in the US for years, Japan beat Hollywood to the punch with 2015’s Death Note. Compacting the entire story into a lean 11-episode run without sacrificing its key plot points, characterisation, or impact, this more concise storytelling earned it higher praise than the anime iteration on this front. 

For this reason, the series may be the best and most bingeable way to familiarise yourself with the story, particularly if you’re not that keen on cracking into the anime iteration because of its medium, age, or length. It’s also the first live-action adaptation to feature the troubled Mello, another L successor, alongside Near, who is a hell of a lot of fun in any medium.

Death Note: New Generation (2016)

The first of two sequel projects to Death Note 2: The Last Name, Death Note: New Generation was streamed as a three-part miniseries in Japan. Each episode revolves around a different original character: a new Death Note investigator, a new Death Note user, and a new L—Ryuzaki, the detective’s ‘true’ successor.

Taking place a decade after the events of Death Note, it includes cameos from Light and L’s original film actors and deals with those characters’ legacy—a generation still inspired by and scared of Kira’s extreme prejudicial measures to create a ‘new world.’ The series functions primarily as a prequel to the next film, and so is probably only worth the effort to find if you’re particularly engaged with what comes next.

Death Note: Light Up the New World (2016)

A follow-up film to New Generation, Death Note: Light Up the New World teams a reluctant Ryuzaki up with the current Death Note task force, who have to find not one but six of the deadly books loose in Japan, as well as identify and stop the person who has taken on Light’s mantle as ‘Neo Kira.’

With 10 years in real-time having passed between this film’s release and the manga’s conclusion, Light Up the New World attempts to update Death Note for a new fanbase. Simply adding more books and killers ups the stakes, but its themes and ideas will still feel very familiar to existing fans. Flawed but ambitious, it does just enough to satisfy curiosity about how this universe could continue to develop before that question was (somewhat) answered in the 2020 Trump-skewering manga one-shot.     

Death Note (2017)

Netflix’s 2017 Death Note film is the most dramatically different and therefore, controversial live-action adaptation to date. Director Adam Wingard’s film does what many Hollywood anime remakes do: Americanise the setting and characters, with much greater focus on Light in high school and a more romantic relationship with Misa (aka Mia).

While most of the cast perform well, the film was largely panned due to these changes, which many felt detracted from rather than enhanced or contributed anything new to the murky, moral quandary at the heart of Death Note. It’s worth noting that the manga authors didn’t mind this divergence, adding that the film could still appeal to a wider audience unfamiliar with its basis. This more generous take is the best way to approach the film: if you’ve seen everything on this list already, treat Wingard’s take as a ‘what if?’ rather than a definitive text. In addition, if you like the Godzilla and King Kong kaiju epics that Wingard went on to make, the film is retroactively more interesting as a ‘monster movie’ springboard for his career.   

Feeding into a now well-established hunger for Korean-made or inspired media around the world, KPop Demon Hunters is a slickly animated package of music, drama, and action. Released by Netflix, the film is set in a world where musically gifted warriors have historically used their bardic talents to fight off a demon incursion.

In the present day, these warriors are K-pop sensations HUNTR/X. But their superstar status, which is key to warding off evil, comes under threat when the underworld fights viral fire with fire—a demon boy band. With humour, heart, and a killer soundtrack, KPop Demon Hunters is a celebration and send-up of the genres that inspired it. If you can’t get enough, here are ten similar movies to watch.

Spider-Verse Saga (2018-)

From the same studio as KPop Demon Hunters, Sony Animation, the Spider-Verse films might have been born from the IP scraps of the shared Sony-Marvel Spider-Man custody, but they stand entirely on their own. Set in a comics-based alternate universe to the mainline Spidey, the film stars Miles Morales as the web-slinger, with a dimensional rift roping in a multiverse of other Spider-People.

The humour and energy of the Spider-Verse series is a strong match with KPop Demon Hunters, even if their breathtaking animation is more experimental. Additionally, though they’re not musicals, the series also boasts fantastic soundtracks with similar Gen-Z appeal to KPop Demon Hunters. Two films, Into the Spider-Verse (2018) and Across the Spider-Verse (2023), have been released so far, with the trilogy-capper Beyond the Spider-Verse expected in 2027.

New Gods: Nezha Reborn (2021)

If you like the anime-influenced, 3D CG style of KPop Demon Hunters, this 2021 film offers more of the same. Based on a work of Chinese folklore about gods and demons, which has had countless other adaptations, New Gods: Nezha Reborn follows a scrappy young hero in a retro-future city who is the reincarnation of the titular god.

Not only is it stylistically similar, but Nezha’s dual identity and inherited responsibilities battling otherworldly threats parallel the HUNTR/X girls’ mission. For those who don’t know the mythology, it’s an engaging way to get to know a Chinese classic from its geographical source; for those who do, it’s a refreshing update. A prequel movie, New Gods: Yang Jian, followed in 2023. 

White Snake (2019)

Another Chinese animated film based on the country’s folklore, White Snake is historically set and more romance-heavy than Nezhua. In the film, an amnesiac female demon who can take the shape of a giant white snake develops feelings for a human man, but the rediscovery of her true nature creates seemingly insurmountable obstacles to their relationship.

Once again, the 3D CG animation and character designs are very close to KPop Demon Hunters, as is the focus on Eastern demonology and female-fronted action. A more distinctive comparison point to other films on this list, however, is the ‘forbidden romance’ subplot between human and demon. Those who wanted more from the romance teased in KPop Demon Hunters might prefer the more explicit one here. Two sequels are also available: White Snake 2: The Tribulation of the Green Snake (2020) and White Snake: Afloat (2024).

Blackfox (2019)

Set on the outskirts of a technologically-advanced city, Blackfox features a young heroine not too dissimilar from KPop Demon Hunters’ lead vocalist, whose ancestry from a legendary ninja clan dictates her future as the clan’s next leader. Her interests, however, lie in science and crime-solving, and following a deadly attack on her family, she vows vengeance using her collective talents.

Blackfox’s more traditional animation style is distinct from KPop Demon Hunters, but its young female fighters, friendships, urban setting, and anime action make it similarly empowering and exciting. A live-action spin-off, Age of the Ninja, came out around the same time, based on a ninja predecessor of the main character. It’s also a Crunchyroll exclusive, so if you’ve been on the fence about membership, this is as good a sign as any to finally take the plunge!

Totally Spies! The Movie (2009)

An oldie compared to others on this list, but still a goodie: the costumes, butt-kicking, secret identities, and close-knit female friendship of KPop Demon Hunters have loads in common with this ’00s anime-inspired French series, which also revolves around a trio of girls moonlighting as costumed heroines.

Totally Spies! The Movie is an origin story for the cartoon, showing how the teen spies first met and went up against an evil but fashionable mastermind. Aimed at a younger audience and without any supernatural elements, it still captures the same bubbly energy and tongue-in-cheek humour as KPop Demon Hunters. Millennials like myself will get tonnes of nostalgia from revisiting the world and characters, too. 

Miraculous: Ladybug & Cat Noir, The Movie (2023)

Another French production with strong anime flavour, partly thanks to collaboration with a Japanese studio, Miraculous: Ladybug & Cat Noir, The Movie is doubly similar to Totally Spies! The Movie in that it serves as an origin point for Ladybug and Cat Noir. Originating in an animated series, the teen superhero duo derive their powers from mystic relics to fight a villain who uses a corresponding relic, turning Parisians into monstrous minions.

While capturing the same romanticism of the series, picturesque French cityscapes, and sweet flirtation between Ladybug and Cat Noir, the film experimentally adds musical elements to the mix. While the success of this is mixed, it certainly makes it an even stronger pairing with KPop Demon Hunters. Think you’re too old for it? I’m a full-on grown-up and earnestly love Miraculous; you’re never too old for Saturday morning cartoon vibes. 

Sailor Moon Eternal (2021)

As a continuation of the revival series, Sailor Moon Crystal, the two-part film, Sailor Moon Eternal, may require some prior knowledge to appreciate fully; however, the ubiquity of the classic magical girl franchise it comes from means newcomers won’t be completely lost. The story pits the Sailor Moon fighters against the mysterious Dark Moon Circus, who threaten to cloud Earth in darkness fueled by people’s nightmares.

As with everything Sailor Moon-related, friendship, love, and empathy overpowering evil are at the films’ heart, and the enduring legacy of this landmark property is clear in works like KPop Demon Hunters that put their own spin on the empowering magical girl formula. Kids and adults alike who like some unapologetically feminine energy in their superheroes will be right at home here.

Belle (2021)

An Internet-based reworking of Beauty and the Beast, Mamoru Hosoda’s Belle is both a celebratory and cautionary tale about the impact of social media on young people. Its ‘Beauty’ is the titular Belle, whose singing talents make her online persona a virtual celebrity, while its ‘Beast’ is the outcast known as The Dragon. As the two grow close, Belle realises the grim truth of The Dragon’s real life.

Though much of it is set within a slightly convoluted world of digital fantasy, Belle’s grounded portrayal of heroism and connection is its main strength, bolstered by a gorgeous soundtrack that those who’ve had KPop Demon Hunters’ on repeat will love. If you’re familiar with Hosoda’s previous films, like Summer Wars and The Boy And The Beast, or simply love incredibly well-made anime, queue this one up right away.  

Lupin III: The First (2019)

Possibly the biggest outlier on this list, but if you’re after more of the same stunningly fluid 3D CG animation, you won’t be disappointed by Lupin III: The First. One of the latest in a long line of adaptations of Japan’s favourite gentleman thief, the movie is a globetrotting caper worthy of an Indiana Jones plot, wherein the ‘60s-era Lupin races against Nazi agents to find a legendary treasure.

The film’s visual depth enhances the delightful cartoonishness of its action and gags, something present in KPop Demon Hunters; neither takes itself too seriously, while at the right times, delivering surprisingly touching moments demonstrating a real love for their characters and canon. The best part is, if you’re intrigued by the titular character, there’s a whole raft of other Lupin movies and shows to discover afterwards.

Sing a Bit of Harmony (2021)

Currently, AI is unable to produce original art comparable to that of any human. This isn’t the case in Sing a Bit of Harmony, in which a tech company plants an AI-powered robot with an incredible singing voice in a local school to see if it can successfully blend in. There, disguised as a female student, the robot befriends some human kids and endeavours to make them happy through song.

Aside from a dramatic third-act rescue, the film is much more slice-of-life than the action-oriented KPop Demon Hunters, but its musical elements, exploration of the ups and downs of female friendship, and themes of ‘otherness’ and isolation are good comparison points. Imagine Terminator meets High School Musical, and you’re kind of on the right track.

Even at nearly 90 years old, Superman remains a pop cultural powerhouse. The character’s origin story— sent to Earth to escape a dying homeworld by alien parents; nurtured under our yellow sun to gain godlike powers that he uses to fight for truth, justice, and the American way—has become the blueprint for an entire genre for decades to come, and a lucrative one at that.

Nowhere is this more evident than in film. Numerous Superman movies have been produced from the late 1940s onwards, and, with a ‘rebirth’ of the DC Cinematic Universe beginning in the summer of 2025, they aren’t slowing down anytime soon. Whether his new cinematic adventures are your jumping-on point, or you’re looking to fill gaps in your existing knowledge of the character, here’s your guide to every live-action Superman movie released so far, in order of release.     

Early Superman Films (1948-51)

Created and first published by Joe Shuster and Jerry Siegel in 1938, it didn’t take long for Superman to fly onto cinema screens. Following a radio show and animated shorts, the first live-action Superman serial was released in 1948 with Kirk Alyn in the title role, albeit uncredited. 

Two more followed during this period: Atom Man vs. Superman (1950) and Superman and the Mole Men (1951), swapping Alyn for George Reeves, who went on to play the character in a spinoff TV series. While serialised, these black-and-white shorts add up to feature-length ‘films.’ They were incredibly popular, eventually receiving home releases on VHS and DVD. Today, they may only be ‘must-watches’ for completionists or those interested in obscure media from this period. For modern superhero fans, they also have value in contextualising Reeves’ CGI inclusion in 2023’s multiverse-bending The Flash.    

Superman (1978)

Aside from a couple of TV specials and cameos, it took 20 years for the man in red and blue to grace screens again after the conclusion of George Reeves’ TV show. The hero made his comeback in a big way: Richard Donner’s Superman had the largest price tag of any film at the time, and luckily, the gamble paid off.

Much like the character did for superhero comics, the 1978 film became the mold from which all superhero movies, particularly origin ones, are cast. It made a star out of lead Christopher Reeve, who masters the on-screen transition between the meek Clark Kent and knightly Superman, and includes A-lister Marlon Brando, groundbreaking visual effects, and iconic theme music from John Williams. Superman or no, it remains a standout example of a fantastical blockbuster that everyone should see at least once in their lives. 

Superman II (1981)

Following up a smash blockbuster hit is never easy, and sadly, director Richard Donner never fully got the chance to: He was replaced by Richard Lester late into production on the Superman sequel due to friction with producers. In the first film, Supes foiled wealthy criminal ‘mastermind’ Lex Luthor’s earthquake plot; in the second, he’s pitted against the egomaniacal Kryptonian General Zod.  

Leaning more on comedy, Superman II is a worthy follow-up that recaptures the awe of its predecessor, bolstered by a stirring turn by Terence Stamp as Zod. Of note to Zack Snyder fans (more on him later) is the fact that extra footage shot by Donner was eventually reclaimed for a new version, Superman II: The Richard Donner Cut, released in 2006. Unless you’re a hardcore Donner head, however, you’re fine to stick with the original version.

Superman III (1983)

Richard Lester retained the director’s chair for the third instalment of the series, which is where fans first started to notice a drop in quality. Superman III adds comedian Richard Pryor to the mix, playing a brilliant scientist coerced into creating an offshoot of Superman’s main weakness, Kryptonite, setting up a struggle between Clark Kent and his caped alter ego.

Not even a multifaceted performance from Reeve prevents Superman III from cheapening the franchise with silly gags and an incomprehensible plot, straining the goodwill built up by the previous films. As someone who enjoys ‘bad’ films, I wouldn’t even say it’s a ‘so bad it’s good’ one for your list, though if you’re keen to have a complete picture of Superman on the big screen, it’s still perfectly watchable. Unfortunately, though, things only get worse from here…

Supergirl (1984)

Superman’s younger cousin Kara Zor-El was supposed to be introduced in Superman III; instead, she lucked out with an entire spinoff of her own. Well, maybe it was more of a monkey’s paw version of luck, as Supergirl did very poorly both critically and commercially. 

Co-starring Faye Dunaway as the villainous Kryptonian mystic, Selena, and Helen Slater in the title role, the film is interestingly more reliant on magic and fantasy than the more sci-fi heavy main series, with a love triangle causing Selena to banish Supergirl to the Phantom Zone, where she battles a demon to escape. Full of surreal and oddly charming flights of fancy, Supergirl has since become a cult classic–and rightly so, in my opinion– with Slater brought back into the wider DCU from the 2000s onwards, thus lending the film some retrospective ‘legacy’ weight.     

Superman IV: The Quest For Peace (1987)

After declining to make an appearance in Supergirl, Reeve was persuaded to return to the film series with a bigger salary and the chance to shape the plot. The Quest For Peace subtitle references an end-of-Cold War message about nuclear disarmament. In this case, Superman’s efforts to rid the world of nuclear weapons accidentally create the living embodiment of them: Nuclear Man.

Reeve’s passion for the cause is commendable, but it couldn’t save a movie challenged by cheap effects and a hollow narrative, leaving the series dead in the water for almost 20 years. This gives it a trainwreck appeal that those fascinated in the rise and fall of franchises, especially topical in today’s IP-saturated landscape, can get a rubbernecking kick out of. 

Following an accident that left him paralysed in 1995, Reeve’s final contribution to the franchise was in the TV show Smallville, and later, a posthumous CGI cameo in 2023’s The Flash, alongside George Reeves.

Superman Returns (2006)

Attempts to resurrect the Superman film series, including a Death of Superman-inspired sequel with Reeve, finally got off the ground with X-Men director Bryan Singer. Superman Returns follows the hero, played by Brandon Routh, returning to Earth after five years, having left at the end of Superman II to find rumoured Kryptonian survivors. In that time, his long-time love interest, Lois Lane, had a son, and Lex Luthor is co-opting Kryptonian technology to make his own island.

Until 2025’s Superman was released, this one always topped my list. Though the film is very reverent, arguably to a fault, to the Donner ones, which had a formative impact on Singer, it has a grounded family drama at its heart rather than outlandish action, making it feel very different from most superhero stories told then, or, I think, since. If you found the Zack Snyder era (discussed next) too dreary and not kid-friendly enough, I highly recommend rediscovering the warm, family-centred Returns.

Man of Steel (2013)

Despite Superman Returns’ critical and commercial success, the series was rebooted again seven years later. Kickstarting the DC Extended Universe (DCEU) to compete with Marvel, Henry Cavill and Zack Snyder replace Routh and Singer in a deeply contrasting cinematic entry, trading bright colours and character drama for large-scale destruction and ethically murky decision-making.

A controversial battle with Michael Shannon’s General Zod didn’t stop Man of Steel from becoming the highest-earning solo Superman film of the series, catapulting Cavill to stardom and setting the stage for Snyder’s darker take on the DC Universe as a whole. If you like your superheroes to be brooding and brutal, or like Snyder’s other films from this time, like Watchmen and Sucker Punch, it’ll be right up your street.

Batman v Superman: Dawn of Justice (2016)

A precursor to the long-awaited Justice League movie, Batman v Superman turns the ‘Super Friends’ into super enemies. In a stroke of meta, comic book IP rivalry, it was also released in the same year as the MCU’s own ‘vs’ movie, Captain America: Civil War. 

Predicated on Batman’s mistrust of Superman’s power and Superman’s distaste for Batman’s brutality, the pair’s conflict is stoked to a violent climax by Jesse Eisenberg’s Lex Luthor and eventually cooled by Gal Gadot’s Wonder Woman, the character’s first live-action appearance on film. This is certainly one worth watching to form your own opinion on, and that opinion will be heavily informed by your buy-in to how the central conflict is both instigated and resolved. The film’s divisiveness is evident in its box office performance, with a historically high opening weekend and a drop off in its second.

Justice League (2017)

The mixed reception and performance of Batman v Superman didn’t deter Warner Bros. or Snyder from creating a sequel. Justice League adds Aquaman, The Flash, and Cyborg to Batman, Superman, and Wonder Woman’s titular team, joining forces to prevent the otherworldly Steppenwolf from activating an apocalyptic device.

Post-production was hampered, however, by the tragic loss of Snyder’s daughter. As a result, Avengers director Joss Whedon completed the film. Backlash to this, as well as mixed reactions from critics and the audience to the ambitious but uneven end product, prevented it from recouping a ballooned budget. Fan demand for Snyder’s vision to be fully realised led to a longer, recut version being released on streaming in 2021, Zack Snyder’s Justice League. If you have three or so hours to kill, the latter is the best version of the film, with the longer runtime allowing for a more coherent storyline and characterisation. Though, like all his work, your appreciation of Snyder as a filmmaker will likely impact your enjoyment of it. 

Superman (2025)

In 2025, the Superman film series and the DC Universe get rebooted again; this time, under Guardians of the Galaxy and The Suicide Squad’s James Gunn’s stewardship. With relative unknown David Corenswet donning the spandex and cape, this new movie reckons with a clash between the character’s biological and adoptive heritages.

After the inconsistent world-building and tone of the DCEU, Superman (2025) is the first instalment of a chaptered, cinematic rebuild that ended with The Flash and starts anew with Chapter One: Gods and Monsters, which Superman is a part of. This makes it vital viewing for those wanting to invest in the new universe, but aside from this, the latest film is a zippy ensemble adventure that balances heartfelt character moments with sci-fi action that works just as well by itself. If you liked what Gunn did on Guardians, you’ll love the magic he works here.    

Based on the novel series by Goosebumps author R. L. Stine, Netflix’s Fear Street film trilogy recently became a quadrilogy with the release of Fear Street: Prom Queen—and the streaming platform is already planning a fifth instalment. Set in the fictional town of Shadyside, the franchise encompasses multigenerational tales of conspiracies, the occult, serial killers, and other grisly ways to terrorise its teen residents, mostly in or around the titular Fear Street. Fans of any of Stine’s work, time-spanning slasher franchises like Scream, or throwback kid horror like Stranger Things, are well served here.

Plans to adapt the books date back to the late 1990s, but didn’t take off properly until Stine returned to them in 2014, and Netflix’s three-part film series launched across three weeks in July 2021. With the first spinoff out and more on the way, here’s how you can get caught up on all the Fear Street movies, in order of release, before the next ones become available.

Fear Street Part One: 1994 (2021)

Each film in the Fear Street trilogy spans three different periods, with the first serving as the key ‘anchor’ point for the overarching story. As well as its ‘present-day’ setting, Fear Street Part One: 1994 also establishes the mystery from Shadyside’s past to be solved across the three films: A malevolent force is turning people into mindless, savage killers, rumoured to be the vengeful spirit of Sarah Fier, a woman executed for witchcraft centuries ago. The main protagonist, Deena Johnson, is sceptical until her friend Sam becomes a target.

With undead killers from the murder capital’s past also on the loose, Fear Street Part One: 1994 quickly establishes a rich and murky lore that not only makes the following two films essential viewing, but also gives horror fans a new world to get immersed in. Those who feast on grisly murder mysteries with a YA slant will enjoy the pulpy thrill ride, but anyone looking for something more in the Goosebumps age bracket should stick to other Stine adaptations.

Fear Street Part Two: 1978 (2021)

Deepening its story and lifting the lid a little on its core mystery, Fear Street jumps back 16 years for this direct sequel, Fear Street Part Two: 1978. Using an extended flashback, Stranger Things’ Sadie Sink stars as a younger version of C. Berman, played by Gillian Jacobs in the present day of 1994, who survived the infamous Camp Nightwing Massacre of 1978.

In my personal favourite of the trilogy, Fear Street goes full-on Friday the 13th with its slasher summer camp setting, filled with teen rebellion, bullying, and eerily similar murderous circumstances to what Deena and her friends experienced in Part One. Berman’s tragic tale of survival against the odds is one of Fear Street’s emotional high points, also providing vital pieces of the puzzle for Deena and the audience to fit together for the finale.

Fear Street Part Three: 1666 (2021)

The third and final part of the first three Fear Street films finally brings the disparate eras and scattered story fragments together. Fear Street Part Three: 1666’s Puritan setting will be familiar to those who know their witchcraft history. Some mystical out-of-body shenanigans put Deena and the viewers right at the centre of accused witch Sarah Fier’s origin point. It also provides an origin point for the dark shadow cast over Shadyside for hundreds of years. 

While half the film is set in 1666, the remaining portion comes full circle, returning Deena to 1994 armed with the information she needs to try and end the curse. The gruesomely creative kills and neon-soaked colour palette are the Fear Street trilogy’s initial draw, but its staying power is rooted in its unique time-displaced structure, crafting an absorbing mythology that every entry satisfyingly builds on to feel cohesive rather than perfunctory. This makes for an especially strong payoff in Part Three, which grapples not only with the terror inflicted by individual murderers but also the societal rot that has elevated one community while poisoning another for decades. If you like what longer-established horror franchises like Halloween have been doing with ‘requels’ (as popularised by Scream 5), this in-built sense of legacy will appeal to you.

Fear Street: Prom Queen (2025)

The first sequel to the Fear Street film trilogy is a standalone adaptation of a single Stine book rather than a direct continuation. While you could watch it before the first three, or just on its own, you’re better off sticking to release order, as Fear Street: Prom Queen benefits from viewers already being familiar with Shadyside and its residents’ almost inherent predilection for violence.

Prom Queen mostly takes place on senior prom night in 1988, where the vying candidates for the title are being murdered, one by one. As such, it’s heavily in slasher territory, with the Scream franchise being the clearest comparison point for the school setting, costume, and red herrings. Also leaned on heavily are genre tropes and character archetypes, which I have to admit, as an avid horror watcher, make it schlockier and less engaging than the trilogy. I was also a little disappointed that the film doesn’t add much to existing Fear Street lore, the depth of which is one of the trilogy’s main draws. That wild end twist, however, makes up for it all somewhat. While not essential viewing in the series, it’s entertaining enough to tick off your general horror movie watch list. 

One of the best-selling manga series of all time, Haruichi Furudate’s Haikyu!! (or Haikyuu! as it’s also variably spelt) began its life on the pages of shōnen magazines before eventually moving from the page to the screen. Furudate’s story, concerning a short king’s quest to become a volleyball great, has thus far produced four seasons of anime TV, various additional online episodes and one feature-length movie—with another, Haikyu!! vs. The Little Giant, on the way.

As we await news on what is said to be the series’ grand finale, here’s a helpful list of how to watch every episode and movie in order. Use the guide below to find out where to watch them.

Detailed Watch Order

• Haikyuu!! Season 1 (2014)
• Beginnings and Endings (2015)
• Winners and Losers (2015)
• The Arrival of Haiba Lev! (2015)
• Haikyuu! Season 2 (2015-2016)
• Vs. "Failing Grades" (2016)
• Talent and Sense (2017)
• Haikyuu! Season 3 (2016)
• Battle of Concepts (2017)
• Special Feature! Betting on the Spring High Volleyball (2017)
• Haikyuu! Season 4 (2020)
• Land vs. Sky (2020)
• The “Path” of the Ball (2020)
• Haikyuu!! The Dumpster Battle (2022)
• Haikyuu! vs. The Little Giant (2026)

Haikyuu!! Season 1 (2014)

Season 1 of Haikyuu!! introduces the viewer to Karasuno High, where our hero, Shōyō Hinata, has decided to pursue his dream of emulating the Little Giant—a legendary volleyball player who refused to let his modest height get in the way of his abilities. 

Over 25 episodes, the series follows the kind of classic underdog arc that fans of the show love, with the team competing in the Interhigh tournament. Meanwhile, Hinata fights a personal battle against his teammate, Tobio Kageyama—a rival who eventually becomes an unlikely friend.

The events of Season 1 were compiled into two feature-length movies: Beginnings and Endings, and Winners and Losers. An additional OVA, The Arrival of Haiba Lev!, can be watched after the final episode.

Haikyuu!! Season 2 (2015-2016)

In Season 2, Hinata and Kageyama’s partnership develops as the team takes on a new manager, Hitoka Yachi. Across the series’ 25-episode run, the boys are forced to balance academic responsibilities with the pressures of a higher-intensity training regime. 

The season covers the manga’s ‘Tokyo Expedition’ arc, following the team as they travel to a training camp in the capital, where they are put to the test against stronger opposition. Fans of the show have praised the creators of Season 2 for allowing the spotlight to be shared with other members of the team, as well as some fan favourite opponents.

The events of Season 2 were compiled into the feature-length movie, Talent and Sense. An additional OVA, Vs. “Failing Grades” can be watched after Episode 11.

Haikyuu!! Season 3 (2016)

In Season 3, a new rival surfaces in the form of Shiratorizawa—an elite academy led by Ushijima, a formidable player and a brooding captain. With a coveted place at the National Tournament at stake, this shortened 10-episode run focuses primarily on a best-of-five match between the two teams in the final round of the Miyagi prefecture preliminaries. The drama builds up to a gripping cliffhanger and a fan favourite moment for Tsukishima, the team’s middle blocker.

The events of Season 3 were compiled into the feature-length movie, Battle of Concepts. An additional OVA, Special Feature! Betting on the Spring High Volleyball can be watched after the final episode.

Haikyuu!! Season 4 (2020)

Season 4 was originally split into two halves, released at the beginning and end of 2020. The 25-episode arc follows Karasuno to the Spring Nationals in Tokyo, where Hinata is forced to go undercover to attend an exclusive training camp. The season builds to a showdown with Inarizaki High, coming to an exciting climax just as the tournament enters the final rounds. 

Season 4 has been widely praised for the emotional depth it brought to Hinata and Kageyama’s character arcs, securing its place as a high point in the franchise. Two additional OVAs, Land vs. Sky and The “Path” of the Ball, can be watched before the first episode.

Haikyuu!! The Dumpster Battle (2022)

The first standalone, non-compilation movie in the Haikyuu!! universe provides the satisfying showdown that fans of the series had been waiting for. 

The story picks up where Season 4 left off, covering the ‘Battle of the Garbage Dump’ arc from the manga, focusing on Karasuno’s epic third-round showdown with their local rivals, Nekoma High—together at last in their first official match—and their brilliant strategist, Kenma Kozume. 

Condensing 31 chapters of the original manga into its running time, The Dumpster Battle is a breakneck anime sports movie in which the unstoppable attacking force of Karasuno meets Nekoma’s unmovable object.

Haikyuu!! vs. The Little Giant (2026)

At the time of writing, not a huge amount is known about the series’s second standalone feature aside from the fact that it will once again pick up where its predecessor left off. The story is said to follow the manga up to at least Episode 365, focusing on Karasuno’s quarter-final matchup with Kamomedai High and Hinata’s long-awaited meeting with his sporting hero, The Little Giant.

Look out for more information on the film’s JustWatch page here, including when it’ll be available to stream.

This article has been updated by Rory O'Connor.

It doesn’t have to be Halloween to acquaint yourself with some of the best and most disturbing zombie movies, but now is the time of year to really dive into the realm of the undead. People expect this subgenre to be very scary, and the best zombie movies are indeed pretty terrifying. But within this specific arena, there is still room for comedy (Shaun of the Dead, Zombieland), political and sociological satire (George A Romero's Living Dead movies), hard-hitting action (World War Z), and even the odd musical number (Anna and the Apocalypse).

It's true, this is a genre that continues to inspire filmmakers to find new ways to approach it. In the last few years alone, we've seen some wonderful and innovative additions to the canon—like MadS, an immersive chiller from France, and Handling the Undead, a Norwegian exploration of grief starring the recent Oscar nominee Renate Reinsve. When it comes to the most disturbing zombie movies ever made, however, it will take something very special to get amongst the ten titles we've listed below. These films are a bit different to your usual horror movie fare, be it due to their emotional kickers, bleak themes, or visceral imagery—the kind that stays with you long after the credits roll.

Come on in and take a bite, and use the guide below to find where to stream them on services like AppleTV, Netflix, Prime Video and elsewhere. 

Train to Busan (2016)

It is not often that a horror film makes someone cry, let alone a zombie thriller, but Train to Busan manages that feat. Not only is this Korean movie full of unsettling zombie attacks, it also delivers brutal fight scenes, harrowing imagery, and one of the most upsetting conclusions to any film of the last decade. I remember watching this as part of a 24-hour movie marathon with a friend of mine a few years ago, which also included Grave of the Fireflies; suffice it to say, that was an emotionally exhausting experience, but such a rewarding one.

The basic concept of zombies on a train sounds a lot like a B-movie idea, but Train to Busan is an A-star picture that’ll leave you reeling emotionally. And not only is the film a crowd-pleaser for even the more zombie-averse viewer, but it’s also one of the most accessible foreign language movies. When you’re done, there’s the animated prequel Seoul Station, and the sequel, Peninsula, too; so, sign up to the Studio Canal channel and book your ticket for this thrilling train ride immediately.

Cargo (2017)

Martin Freeman isn’t an actor who screams horror movie vibes, and yet, when he’s thrown into the zombie movie Cargo, he excels. The film is a tragic take on the genre, with Andy (Freeman) racing against time to save his wife from succumbing to a dangerous virus that turns people into rabid, flesh-eaters. The kicker is, he’s got a baby to think about, too. With young Rosie in tow, this is essentially a poignant family drama at its core while still bearing all the trappings of a rather grim survival story full of gruesome gore and fearsome foes.

I’d suggest this as a great option for anyone looking to turn Halloween into a bit of a dark date night. Cargo is only just over 100 minutes long, and it’s of a similar ilk to films like A Quiet Place and The Road, but far more graphic and in-your-face grotesque. As it’s available on Netflix, it’s also easy to get stuck into. 

Handling the Undead (2024)

One of the most unsettling thoughts everyone has surely considered when watching a zombie movie is, What would you do in this situation? More specifically, how would you react if a loved one turned into a zombie? This Norwegian horror flick from Thea Hvistendahl addresses those questions head-on in devastating fashion. 

Handling the Undead features scenes that will make you well up, scenes that could very well make you throw up, and one, in particular, that will make you wince and squirm. Please be warned, if you’re sensitive to watching animal cruelty on screen, it’s probably best you don’t go for this film. 

It’s also worth noting that Handling the Undead is difficult to track down. I got lucky around the time of release that I was sent a screener, but I urge you to try and get hold of this movie if you enjoy bleak horror movies like The Mist or Threads. It’s not for everyone – it really is uncomfortable, but it’s astounding on a technical and thematic level.

Night of the Living Dead (1968)

The original zombie movie from the zombie movie master, George A. Romero, there’s a reason Night of the Living Dead is heralded as one of the greats. Even with its black and white palette, the horror jumps off the screen: Romero fills the frame with some of the most hauntingly bleak yet beautiful shots you’re likely to find in the genre. The single-location story and powerful ending produce a real feeling of desolation and despair that will get under your skin. It’s human horror at its finest.

It took me far too long to get around to watching Night of the Living Dead. Don’t be like me and get to 30 years old without having seen the very best zombie movie ever made. There’s no excuse either, as it’s on Prime Video, which gives you the perfect reason to watch the sequels, too. Many prefer Dawn of the Dead, but I have a real soft spot for Day of the Dead, which introduces some really interesting themes around the morality of how humans treat zombies.

28 Days Later (2002)

With 28 Years Later roundly considered to be one of the best movies of 2025 and The Bone Temple already looking like one of the best of 2026, it's difficult to know which of Danny Boyle’s enormously influential zombie series to choose from here—so we may as well go back to 28 Days Later, the place where it all started. From those opening moments of Cillian Murphy roaming the empty streets of London in his hospital gown to the climactic scene with Christopher Eccleston and his rogue soldiers, this early 2000s cult classic still boasts some of the most disturbing footage you’ll find in a zombie movie.

Few films can match 28 Days Later when it comes to the depressing feeling of being all alone in the middle of an apocalypse, where everyone and everything feels like it's out to get you. Some of the visuals may be a little rough and ready, largely down to the low-budget nature of the film, but for anyone who can overcome that, you’ll be treated to a groundbreaking slice of early-2000s cinema.

Maggie (2015)

There’s a common theme among many of these disturbing zombie movies, and that is the conflict between familial ties and survival in an apocalypse. While Maggie is not the best film on this list, it certainly taps into that idea of protecting your loved ones at whatever the cost, more effectively than most. It’s actually very similar to another film on this list, Cargo. I’d argue Cargo is better, but Maggie is ever so slightly less emotionally draining, so if you fancy something marginally lighter, this is the way to go.

Arnold Schwarzenegger goes against type with this highly dramatic and sensitive performance, while Abigail Breslin is impressive opposite him as the daughter society tells him he should abandon, but whom he will not leave behind. Maggie is a powerful film that is not afraid to test the moral compass of its characters and its audience. You’ll have to pay £3.49 to rent it as it’s not available on any streaming services, but with a runtime of just 95 minutes, it’s a fair trade for some easily digestible entertainment.

The Wailing (2016)

The South Korean picture to make it onto this list, but The Wailing is very different from Train to Busan. For a start, it’s not a tearjerker, but this Na Hong-jin movie is still immensely brutal and unsettling with its no-holds-barred approach to gore and violence. While films like Handling the Undead hone in on the dilemma of protecting family in a zombie apocalypse, The Wailing offers a far more nihilistic approach to those problems. After all, a zombie outbreak is nothing a good knife can’t handle, right?

I’m not going to lie, this is not the most accessible film on this list. The Wailing is pretty long, clocking in at just over two-and-a-half hours; it’s very grim and gory, and there’s also the foreign language element to consider. On the plus side, you can find on Prime Video right now. If you’re into films like Tigers Are Not Afraid or I Saw The Devil, you’ll be in your element here.

REC (2007)

I said from the outset that we were here to discuss zombie movies that veer away from the standard scare factor and offer something different. REC does that, while still being absolutely terrifying; possibly the scariest film on this list. It’s amazing, really, that a found footage zombie movie hadn’t really been done before REC came along, and that there haven’t been more since. This framing device is what really hammers home those disturbing vibes, throwing the viewer right into the beating, bleeding heart of the outbreak event and offering no hope of escape.

While there have been multiple sequels to this movie since, I’d say the original is the only one truly worth your time. And, given it’s only 78 minutes long, you won’t have to give up much time to it. Think Host meets The Descent, and you’re on the right lines with REC. It’s short, snappy, and incredibly immersive. I genuinely had nightmares after watching this – don’t say I didn’t warn you!

Pontypool (2009)

Perhaps the most obscure film on this list, Pontypool is unique and fascinating. There’s just something about small-town horror that hits extra hard, and Pontypool is underpinned by that unsettling feeling. Call it disturbing, call it eerie, call it foreboding, whatever it is, this film just does not let up, but it never becomes gratuitous thanks to an intriguing story. Using language as a means to deal with the outbreak of a deadly virus, and containing the action in the single setting of a radio station, there is something wonderfully simple about Bruce McDonald’s movie. It’s sure to stick with you for days afterwards, whether you like it or not.

A friend of mine recommended this movie to me every Halloween for about three years until I finally relented. I should have listened to him sooner. If you liked the setting and vibe of Vast of Night but want something scarier, you can do far worse than either watching Pontypool on Prime Video or paying the measly sum of £1.99 to rent it via Apple TV+.

I Am Legend (2007)

If you thought Cillian Murphy’s predicament in 28 Days Later was rough, spare a thought for Will Smith’s character in I Am Legend, Robert Neville, who only has his dog for companionship. Granted, it’s a very good dog, but when the world is filled with vampiric, cannibal mutants (we’re going to call them zombies for the sake of argument), a canine friend isn’t quite enough to get you through.

While the novel by Richard Matheson may be far richer and more nuanced, there is something about this 2007 film that really cuts to the core of what makes zombie movies so disturbing. The demise of civilisation in these scenarios just feels inevitable, and survival, no matter how hard you try, can only ever be temporary. I Am Legend is probably the most well-known film on this list, and it’s certainly the one that most comprehensively ticks the blockbuster box. But that doesn’t change the fact that it’s filled with smaller and genuinely heartbreaking moments. 

Created in 1987, Final Fantasy has been a mainstay on the computer game landscape for almost four decades. In that time, Hironobu Sakaguchi’s creation has spawned 16 standalone games, endless side quests, and whole galaxies of other media, including big-screen adaptations and various multi-episode anime TV shows. 

Unfortunately, Sony’s first attempt at a live-action show—which had been rumoured to take place in the expansive MMORPG world of FFXIV—isn’t going forward, but we’ve rounded up every movie and TV show that Square Enix has produced to date to assess which are worth your time. As there is little interconnecting tissue, we’ve arranged them in chronological order. Use our guide below to track them all down for streaming online. 

Final Fantasy: Legend of the Crystals (1994)

Though released the same year as Final Fantasy VI, and just before the games migrated from Nintendo to PlayStation, Final Fantasy: Legend of the Crystals strangely exists in the world of the fifth instalment. That gives the show a nostalgic quality today that any longtime FF devotee will surely appreciate.

Taking place 200 years after the events of the game, the story introduces two new heroes, Linally and Prettz. Together, they must face the evil Deathgyunos, a dark wizard looking to use the crystals to gain power over the Void. 

The original four-episode run was released direct-to-television in Japan before coming to DVD in the U.S. a few years later. While some reviewers at the time weren’t too plussed, many embraced the show, with GameFan magazine even rating it higher than the mighty Neon Genesis Evangelion.

Final Fantasy: The Spirits Within (2001)

I’m old enough to remember going to see the first Final Fantasy adaptation on the big screen. The movie was an event, no doubt, but it has gained something of a mixed reputation, to say the least. Developed over four years, The Spirits Within will always be the first photorealistic feature ever made; yet despite its landmark visuals, star-studded voice cast, and some notable praise from the likes of Roger Ebert, it failed spectacularly at the box office. 

Set in 2065, the movie concerns a more earthly dystopia than fans of the games are used to, following a group of soldiers and scientists as they attempt to fend off an invasion of alien lifeforms known as Phantoms. Like it or loathe it, it remains a significant movie and, for fans of the game, is certainly worth seeing.

Final Fantasy: Unlimited (2001)

Released just a few months after the financial disaster of The Spirits Within, Final Fantasy: Unlimited had to face the cruelly ironic fate of having its originally planned run of 52 episodes reduced (or limited) to 25. Regardless, the show is still warmly remembered by most fans, with many noting the softer, more family-oriented energy.

The story follows Ai and Yu, 12-year-old twins attempting to find their parents in a parallel dimension known as Wonderland, where the evil Earl Tyrant rules. The bifurcated show, which combined 2D animation and 3D graphics, would eventually be completed in a series of graphic novels that were released online and in print. 

Final Fantasy VII: Advent Children (2005)

After the chastening experience with The Spirits Within, Square Enix wisely opted for a more fan-service approach with their next big-screen outing. The resulting movie, titled Advent Children, was a direct-to-DVD release but is probably still the most widely beloved Final Fantasy film to date. 

Centring on a guilt-ridden Cloud Strife, and set just two years after the events of FFVII, it follows the arrival of a sinister group who plan to resurrect Sephiroth by abducting children who have been infected with a new disease called Geostigma. 

A remastered version was eventually released in 2009, and the movie was even given a theatrical run in 2023 to coincide with the release of Final Fantasy VII Rebirth. For fans of that game and the original, it’s an essential watch.

Last Order: Final Fantasy VII (2005)

Released as a standalone 25-minute anime as part of The Compilation of Final Fantasy VII, a series of sequel and prequel projects that dropped simultaneously with Advent Children, Last Order: Final Fantasy VII revisits some famous flashbacks from the original game. 

In the story, Sephiroth murders the villagers of Nibelheim en route to entering the Mako Reactor, where he reunites with Jenova. When Cloud attempts to intervene, Sephiroth impales him, leaving Cloud with mako poisoning and both he and Zack as prisoners of the Shinra military. Together, they attempt an escape. 

Similar to Advent, it’s a rewarding watch for anyone with fond memories of those games and anyone looking to briefly re-enter that world.

Kingslaive: Final Fantasy XV (2016)

For the franchise’s first outing on the PlayStation 4, Square Enix was looking to make a splash. Months before the game’s hotly anticipated release, Kingslaive: Final Fantasy XV was given a theatrical run in Japan and the U.S. before eventually being offered in a bundle with the game.

The feature-length story takes place at the same time as the beginning of the game, focusing on Regis, the father of the game’s protagonist, Noctis, and his attempts to broker an armistice with the invading empire of Nilfheim.

It’s a wonderfully animated piece of work with a stellar voice cast of TV royalty, including Sean Bean, Lena Headley and Aaron Paul.  

Brotherhood: Final Fantasy XV (2016)

Dropped on YouTube during the months leading up to Final Fantasy XV’s release on the Xbox One and PS4, Brotherhood is a nice addition to the FFXV universe. The five-episode web series follows Noctis’s ill-fated journey to marry Lunafreya Nox Flueret. As anyone who’s played the game will know, Nilfheim will betray his father while Noctis is en route, invading Lucis and setting the events of the game in motion. Through flashbacks and character development, the show establishes Noctis’s backstory as well as those of Prompto, Galdiolus and Ignis—his loyal team.

The show is not exactly an essential watch, but completists will love to see this added layer of character development, as it focuses on the catalyst for Noctis’s quest to regain the throne.

Final Fantasy XIV: Dad of Light (2017)

The only live-action Final Fantasy production to date is also the goofiest thing to come out of the long-running franchise. Released Stateside on Netflix in 2017, a full seven years after the game, Final Fantasy XIV: Dad of Light follows a father (played by veteran actor Ren Ôsugi—who appeared in classic movies like Cure and Audition) and son whose real-world distance is eased by the bond they discover while playing the titular MMORPG. 

The eight-episode mini-series remains unlike anything else released by Square Enix; a singular curiosity with an undeniably earnest charm.

Final Fantasy XV: Episode Ardyn - Prologue (2019)

As a 15-minute YouTube short, Final Fantasy XV: Episode Ardyn – Prologue, the most recent animated project from the FF world, is also the shortest. 

It functions solely to flesh out the character of Ardyn Izunia—the 15th game’s chief antagonist. Taking place 35 years before the events of FFXV, it details his turn from healer to chancellor of Nilfheim, including his introduction to the Empire and the roots of his hatred for the Lucian bloodline. A nice bit of added character development, and one which can be watched over a morning coffee before or after diving into the game.