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8 Most Universally Acclaimed War Movies of All Time, Ranked
Trying to single out the best and most critically acclaimed war movies of all time is likely to lead to some conflict, with the inevitability of disagreements (of a potentially fiery nature) sort of inadvertently demonstrating why movies about such conflicts keep being made. People don’t stop fighting each other, and disagreements seem to be just a part of human nature, and disagreements done on a large and violent enough scale end up being wars.
So, you won’t likely agree that all the following deserve to be here, and maybe you would’ve preferred to see Oppenheimer (highly acclaimed, objectively so) or more than one David Lean movie, but that’s just how it is. These movies are here because they were particularly well-reviewed, drew in large audiences, won lots of awards for their respective year of release, or maybe even all of the above. They’re some of the most universally acclaimed war movies of all time, and as close to “objectively good” as you can imagine for this particular genre.
8
‘Paths of Glory’ (1957)
The first movie Stanley Kubrick made that was pretty much perfect was Paths of Glory, and it says something about how legendary a director he was that various films of his post-1957 were arguably even better. He went back to the war genre a few times, too, with Full Metal Jacket and Barry Lyndon (if the latter counts) also being phenomenal, but Paths of Glory is something special, and arguably the definitive World War I film, too.
It covers the aftermath of a failed offensive, with three soldiers being made scapegoats and put on trial, which leads to a commanding officer desperately defending them in a court-martial where their lives are on the line. For the opening, a more expected and frequently depicted war-related brutality is shown, but then after the battle sequence is over, there’s still a kind of violence and a battle with life and death stakes, just in a courtroom now. The idea of war being violent toward its participants even when they’re not in active combat was, of course, memorably explored further in Full Metal Jacket, mostly with the scenes in the first half that deal with boot camp training.
7
‘The Human Condition’ (1959–1961)
Just as you can sort of count The Lord of the Rings as one massive movie, owing to how it was helmed as a huge production and unfolds rather seamlessly if you watch all the parts relatively close together, so too can you argue The Human Condition is one massive movie… admittedly split into – and released in – parts. If you’re able to dedicate 10 hours in one day to just watching it, it’s certainly rewarding to do so, albeit it’s quite physically and emotionally exhausting to accomplish such a feat.
See, The Human Condition holds up as one of the most brutal and honest movies about war ever made, following a conscientious objector and pacifist being slowly made to take part in the Second World War more and more, as things go on. Each movie deals with a different stage of the overall conflict (a prelude to war, being in the thick of it, and surviving the aftermath, in effect), but you get a whole devastating story told across the entire thing, when it’s treated as one immense – and difficult to top, quality-wise – project/story.
6
‘Saving Private Ryan’ (1998)
It would feel a little strange to call Saving Private Ryan an outright crowd-pleaser, because parts of it are horrifying and sad, yet it’s crowd-pleasing by war movie standards because it does offer quite a lot of catharsis and moments of unambiguous heroism. It’s about a rescue mission to track down the titular Private Ryan, and the sacrifices made by a group of soldiers tasked with finding this one man, who’s purportedly behind enemy lines.
Whether you want to count the beach landing sequence as an opening scene or not, either way, it is one of the best-remembered sequences from any war movie pretty much ever made, and the similarly dramatic final combat set piece also leaves an impact. Saving Private Ryan is also very well-paced for something that’s as long as it is, and it’s earned a great deal of praise/acclaim on account of being so difficult to find fault with on a technical front.
5
‘Napoleon’ (1927)
Quite comfortably the oldest movie here, Napoleon (1927) definitely shouldn’t be mixed up with Napoleon (2023), though they’re unsurprisingly about the same figure. Napoleon Bonaparte is at the center of both biographical movies, but the 1927 version is noteworthy for really just being about his early life and some of his first successes as a military leader… but not a whole portrait of his life, as director Abel Gance originally wanted Napoleon (1927) to start a series.
With the earlier Napoleon, it’s so remarkably ahead of its time with how it’s shot, staged, and edited.
It wasn’t to be, but there’s still a huge amount to be impressed by, even if one might argue Napoleon (1927) technically feels incomplete. Still, as Napoleon (2023) showed, there are disadvantages to getting one man’s whole chaotic life crammed into just a single movie. Also, with the earlier Napoleon, it’s so remarkably ahead of its time with how it’s shot, staged, and edited, so if you’re interested in the history of cinema and how some of the all-time great silent movies evolved cinematic language, Napoleon (1927) is a must-watch (don’t let the length turn you off).
4
‘Pan’s Labyrinth’ (2006)
More of a fantasy movie, admittedly, but Pan’s Labyrinth makes the aftermath of the Spanish Civil War quite important for its overall narrative. There’s an imaginative young girl who’s made to live with an awful stepfather, with him treating her and her mother poorly while guerrilla warfare continues in the war’s aftermath, thanks to resistance fighters against the Armed Police Corps (said Corps being what the stepfather works for).
So, she retreats into a darkly fantastical world, and carries out a series of quests for the chance of bringing both her mother and soon-to-be-born baby brother into a better (and fantastical) world. Pan’s Labyrinth succeeds surprisingly well at being a fantasy and war hybrid, genre-wise, and it’s also the kind of film that feels like its own distinct (not to mention exceedingly admirable) thing.
3
‘Schindler’s List’ (1993)
There was already a Steven Spielberg movie mentioned earlier, but Schindler’s List is a very different sort of war film, even if, like Saving Private Ryan, it was focused on World War II and came out in the 1990s. There’s less by way of combat showcased in Schindler’s List, since the focus is on the Holocaust, which took place during World War II, and there’s more of a true story being retold here (Saving Private Ryan did famously depict some conflict that actually happened, but the main characters were fictitious).
It’s a long and ambitious film, so difficult to summarize entirely with just a sentence or two, but most of Schindler’s List is about how Oskar Schindler used a personal fortune to save more than 1000 Jewish lives from being sent to concentration camps. That act of heroism is celebrated while the overwhelming nature of the Holocaust in every other regard is still acknowledged, and depicted in a way where you feel the overwhelmingly awful enormity of it all. As a tonal balancing act (and judged just about any other way, really), Schindler’s List is remarkable.
2
‘Apocalypse Now’ (1979)
You feel like you’re in a nightmare pretty much straight away, with Apocalypse Now, though things do inevitably get more horrific as the whole film marches on into darker territory, literally and figuratively. It takes place during the Vietnam War, and the main character is a disillusioned captain who’s assigned with tracking down – and then killing – a rogue Green Beret Colonel.
That might sound like the set-up for some kind of wartime adventure movie, but everything here is bleak and sometimes even a little surreal, so there’s very little fun or catharsis to be found in Apocalypse Now, but that’s by design. It’s extremely effective as an anti-war epic, and of all the acclaimed and well-recognized (by either nominations or wins) Vietnam War movies at the Academy Awards, Apocalypse Now might well be the very best.
1
‘Lawrence of Arabia’ (1962)
Lawrence of Arabia is the kind of beyond-untouchable masterpiece where you can, if you’re feeling brave, argue it isn’t the best thing of all time, but a lot is going for it to make it worthy of being considered if not the best thing of all time (of all the things ever), then maybe the best movie of all time. It’s got it all, with a memorable character arc, a lot to say about war and the human condition, plenty of spectacle, and an overall interesting story that’s told well – and rather effortlessly – over a lengthy runtime.
You do need almost four hours to watch Lawrence of Arabia, and then further chunks of the same amount of time if you want to revisit the film and appreciate it even further, but it’s worth all that time and energy. It’s about as good as epic war movies get, and the copious amount of praise hurled at this movie ever since 1962 has all been exceptionally well-earned.
Lawrence of Arabia
- Release Date
-
December 11, 1962
- Runtime
-
228 minutes
- Director
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David Lean
- Writers
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Robert Bolt, Michael Wilson
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Some thrillers hit harder because they feel like they’re playing five minutes into the future. This one has always lived in that uncomfortable space, where the danger is not a masked killer or a bomb under a table, but a line of code, a foreign adversary, and the horrible realization that an entire country can be destabilized before most people know anything is happening. Now, the series is returning with a fresh wave of tension, and the timing still feels annoyingly plausible.
The Undeclared War returns on August 27, 2026, with the new season set in 2024 as the elite Malware Department at GCHQ deals with the aftermath of a devastating Russian cyber-attack. Just when it seems the UK has gained the upper hand, Danny and his team discover a mole in their midst and uncover a far more dangerous threat. So, yes, a normal day at work, if your job involves national security, betrayal, and everyone pretending not to panic in government offices.
The cast includes Simon Pegg (Shaun of the Dead, Mission: Impossible — Fallout) as Danny Patrick, Siân Brooke (Sherlock, Blue Lights), Hannah Khalique-Brown (The Undeclared War, Red Rose), Alex Jennings (The Crown, A Very English Scandal), Danny Sapani (Black Panther, Penny Dreadful), Ed Stoppard (The Pianist, Knightfall), and Chloe Pirrie (The Queen’s Gambit, The Victim).
Why Is ‘The Undeclared War’ Still So Unnerving?
When the first season launched, Pegg spoke about the real-world anxieties behind the show and why its cyber-war setup felt so frightening. Discussing the series on The Chris Evans Breakfast Show with Sky, Pegg said one of the most interesting things he discovered was the existence of troll farms where people pretend to be British online, use British slang and hashtags, and deliberately provoke arguments that are then amplified by bots.
“The discourse just becomes shouting, and it destabilises our society. That’s actively happening,” Pegg said. He also warned that people engaging in political conversations online may be interacting with “a foreign adversary without realising it,” adding, “It’s so pervasive and other places are all over it.”
The Undeclared War is not just about hackers typing very fast in dark rooms, though, legally, every cyber-thriller must include at least some of that. Pegg also said that “nothing in the show hasn’t happened, or hasn’t been war gamed by our Ministry of cyber defence,” calling the subject “pretty scary.” He later summed up the show’s nastiest idea in one blunt line: “Information is power. Really now it’s becoming about not who’s telling the truth, but who’s telling the biggest lie the loudest. That’s terrifying.”
The series is created by Peter Kosminsky and Colin Callender, with Colin Teevan, Amy Ng, Emily Marcuson, and Roland Walters writing the new season. Paul McGuigan directs, while executive producers include Callender, Daniel Gratton, and Noëlette Buckley for Playground, Kosminsky for Stonehenge Films, Teevan, and McGuigan. The series comes from Playground, Stonehenge Films, and Universal International Studios, a division of Universal Studio Group.
The Undeclared War returns August 27, 2026 on Peacock.
- Release Date
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2022 – 2022-00-00
- Network
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Channel 4
- Directors
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Peter Kosminsky
- Writers
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Declan Lawn, Amelia Spencer
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Alex Reid
Colonel Pauline Keele
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Daniel O’Meara
Newscaster
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David Prosho
Steve Cleary
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Kerry Godliman
Angie McMurray
Khloé Kardashian is having another go at a skin-tightening treatment she has grown to love. On her Instagram Story, the mother of two revealed she was going in for her fourth Sofwave session, one of several cosmetic procedures she has tried over the years.
Khloé has remained open about her beauty treatments, even as she continues to face criticism on the internet.
Taking fans along on her aesthetic routine is something Khloé has grown accustomed to, and her recent decision to undergo another Sofwave treatment was no exception. The business mogul recently took to her Instagram Story to share the journey with her fans, marking the fourth time she has undergone the procedure.
In the post, Khloé gave her fans an insider look at how the device works, which reportedly uses noninvasive ultrasound energy to stimulate collagen at a precise depth in the dermis.
The result is a gradual tightening of the skin without downtime, and in Khloé’s case, the target areas are her jawline and cheeks.
Khloé Has Been Open About Her Cosmetic Work
Khloé once admitted to having had a nose job ahead of her daughter True’s birthday in 2019, as was reported by PEOPLE. The following year, she revealed it was something she had always wanted to do and wished she had done sooner.
Out of necessity, she also underwent laser treatments and fillers between 2022 and 2023 to help repair the indentation and scar tissue left on her face after she had a tumor removed.
She later shared in 2025 that she had also tried “Botox and Sculptra” injections to further help heal the scars, but admitted at the time that Botox wasn’t really her thing.
Other treatments Khloé has used on different occasions include “collagen baby threads” for her neck and chin, salmon sperm facials, and laser hair removal.
Khloé Kardashian Was Offended By “Face Transplant” Claims
Due to her numerous cosmetic procedures, Khloé has faced repeated criticism from people who take issue with her appearance.
She was particularly offended by those who accused her of having a “face transplant,” a claim that came from critics who argued she looked different every week.
Speaking on the “Not Skinny But Not Fat” podcast in 2022, Khloé directly addressed the criticism, saying it left her confused because she had never undergone such a procedure.
“I just couldn’t figure out why people thought that,” she said at the time. “Like, I want everyone to know … I don’t care to lie about it. But the transplant thing, I just want to understand why. That sounds amazing later in life, but now, I’m good.”
Khloé Once Denied Having Breast Implants
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Last year, Khloé shut down claims that she had undergone a breast implant procedure while celebrating her 40th birthday.
Although her chest appeared larger than usual in the outfit she wore for the occasion, the reality star explained that the look was simply due to the corset she had on.
“You know a good corset will cinch your waist and give you tatas, so I’m living my double-D life that I’ve always wanted but just for the night,” Khloé said in the March 6 episode of Hulu’s “The Kardashians” in 2025.
She further admitted that she loved the fuller look the corset gave her, as she wasn’t used to seeing herself that way.
Khloé Kardashian Recalled Being Treated Differently Over Her Weight
Beyond undergoing cosmetic procedures, Khloé has also lost a significant amount of weight over the years, something she said aligned with her personal preferences. However, she took issue with the fact that people began treating her better after her physical appearance changed.
“When I was chubbier, I used to get very different treatment than Kourtney and Kim got,” the entrepreneur said in a recent episode of her “Khloé in Wonder Land” podcast, per PEOPLE Magazine. “When I lost a lot of weight and started looking different, the treatment I started getting was so much better.”
In the episode, she shared that their behavior made her feel “gross,” adding that she still holds a grudge against those who were “mean or rude to me but great to Kourtney and Kim.”
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These films are here to help when you need a little extra motivation to get you through the day.
Prime Video has become and continues to be a one-stop shop for some of the best crime thriller content on streaming. Easily the king of the genre is Alan Ritchson‘s Reacher, which has become one of the most popular shows on streaming let alone Prime Video. Other examples of hit shows currently streaming on the platform include Aldis Hodge‘s Cross, Nicole Kidman‘s Scarpetta, and more, all of which make regular appearances on Prime Video’s Top 10 charts.
Still, those are all television series, and all ones based on beloved established IP at that. What about original crime feature films? Well, Amazon MGM released a surprise sleeper hit in that category earlier this year with Crime 101, directed by Bart Layton and featuring a stellar ensemble cast that consists of several Marvel stars. Boasting an impressive Rotten Tomatoes score of 88%, Crime 101 stars Chris Hemsworth (Avengers: Doomsday), Mark Ruffalo (Spider-Man: Brand New Day), Barry Keoghan (The Batman), Halle Berry (X-Men), Corey Hawkins (The Odyssey), Nick Nolte (The Mandalorian), and Monica Barbaro (Top Gun: Maverick).
Chris Hemsworth stars as Davis — a dedicated a professional thief who soon gets caught up in the the heist of the century while Detective Lou (Ruffalo) is hot on his trail. Critics praised Crime 101 for its heist thriller and LA noir elements, drawing comparisons to seminal hits like Heat and Drive. However, despite that critical acclaim, Crime 101 still underperformed at the box office and failed to recoup its $90 million budget. Thankfully, it is finding some continued success on streaming, as it is currently the #1 movie on Prime Video, beating out Mark Wahlberg‘s new hit comedy Balls Up.
What’s Next for the Cast of ‘Crime 101’?
Chris Hemsworth, of course, will be officially reprising his ongoing role as Thor Odinson in Avengers: Doomsday, where he’ll reunite with Chris Evans, Robert Downey Jr., and more. Notably absent from Doomsday‘s cast is Mark Ruffalo, but he’ll still be returning to the MCU as Bruce Banner in Spider-Man: Brand New Day. There’s also been rampant speculation that Halle Berry could reprise her role as Storm in Doomsday given the X-Men‘s prominent role in the film, and while Berry has denied her involvement in the movie, Hemsworth has expressed interest in getting his Crime 101 co-star involved with the upcoming Avengers: Secret Wars. As for the rest of Crime 101‘s cast, Barry Keoghan is expected to reprise his role as Joker in The Batman: Part II, Corey Hawkins is a part of the impressive ensemble cast of The Odyssey, and Monica Barbaro will next be seen in the new rom-com One Night Only.
Crime 101 is streaming now on Prime Video. Stay tuned to Collider for more updates.
- Release Date
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February 13, 2026
- Runtime
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140 Minutes
- Director
-
Bart Layton
- Writers
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Bart Layton, Peter Straughan
- Producers
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Derrin Schlesinger, Eric Fellner, Shane Salerno, Tim Bevan, Chris Hemsworth, Ben Grayson, Dimitri Doganis, Bart Layton
Originally deemed a failure when it hit theaters in 1982, Blade Runner has gone on to become one of the most acclaimed and influential science fiction films of all time. And while you can explore the movie’s sequels, novels, and comic books, you’ll soon have an all-new way to walk the neon-lit streets of a future Los Angeles. Collider is proud to exclusively announce that a new Blade Runner immersive experience is being developed by Behaviour Interactive and PHI Studio, and will be released in 2027.
The new immersive experience will plunge viewers into the high-tech urban dystopia of Blade Runner 2049, letting them experience that fully realized science fiction world like never before. Collider had a chance to talk to Dominique Lebel, Senior Vice-President at Behaviour Interactive, and Julie Tremblay, General Manager at PHI Studio about the upcoming project. Lebel discussed the relevance of Blade Runner today, and how the project will be a universal experience:
Blade Runner depicts a world where the line between human and artificial is becoming increasingly blurred. The dystopian world depicted in Blade Runner may seem increasingly real today, which is why it remains as powerful as ever. The immersive experience will allow visitors to dive back into this universe, to confront it while enjoying a powerful interactive and visual experience. The experience is designed for everyone, not just Blade Runner fans.
Tremblay, meanwhile, emphasized Blade Runner‘s prophetic nature when it came to its vision of the future, and the still-unanswered questions that it raises:
The questions at the core of this universe; What makes us human? Who holds power? What do we owe each other in a world shaped by technology? Are the questions we’re all living with right now. The parallels are somehow more real than ever, which is what makes this universe thrilling!
Tremblay also revealed that while fans will recognize the aesthetics and themes of Blade Runner, this is “not a film adaptation or a traditional exhibition.” Rather, it is “a premium, multisensory experience combining immersive environments, cinematic visuals, spatialized sound, interactivity, and physical exploration. We want people to feel fully surrounded by the world of Blade Runner — its beauty, tension, mystery, and scale.” She went on to say that she wants everyone who experiences it to share it together in the same way:
The dream is that different generations can experience it together — people who grew up with the films and younger audiences discovering Blade Runner for the first time — and all leave equally excited by the world.
The experience was developed in collaboration with Alcon Entertainment, the holder of the Blade Runner intellectual property rights. It will be unveiled in several North American cities starting in 2027.
What Is ‘Blade Runner’?
Loosely adapted from the Philip K. Dick novel Do Androids Dream of Electric Sheep?, Blade Runner centers around Rick Deckard (Harrison Ford), a “blade runner” charged with finding rogue replicants (artificial human beings). As he searches for a group led by the crafty and deadly Roy Batty (Rutger Hauer), he becomes entangled with Rachael (Sean Young), a beautiful replicant who is unaware of her true nature…and starts to wonder if he, too, is unaware of his own real origins. Directed by Ridley Scott, written by Hampton Fancher and David Peoples, and featuring music by Vangelis and conceptual designs by Syd Mead, the noir-tinged film was a financial and critical disappointment upon its 1982 release, but soon became a cult classic, and is considered one of the pillars of the cyberpunk genre. Scott, who was never fully satisfied with the changes the studio made to the original film, has released a number of director’s cuts, culminating in 2007’s definitive The Final Cut.
After it achieved cult success, Blade Runner became a franchise, with a number of novels and comic books spinning out of the original film. A 2017 sequel movie, Blade Runner 2049, featured an older Deckard working with police replicant K (Ryan Gosling) to find the miraculous offspring of a deceased replicant. A new Prime Video series, Blade Runner 2099, is now in post-production; it will star Michelle Yeoh and Hunter Schaefer.
The Blade Runner immersive experience will be released in 2027. Stay tuned to Collider for future updates.
- Release Date
-
June 25, 1982
- Runtime
-
118 minutes
- Writers
-
David Webb Peoples, Hampton Fancher, Philip K. Dick
- Producers
-
Michael Deeley, Run Run Shaw
Some action movies try to explain themselves through endless exposition and mythology, but Motor City looks perfectly comfortable letting pure atmosphere take control instead. The first teaser for the upcoming Alan Ritchson-led revenge thriller throws audiences directly into the wreckage and trusts the visuals to carry the weight. Honestly, that confidence is exactly what makes it feel exciting, even based on the short teaser trailer.
Set in 1970s Detroit, the film stars Ritchson as a man framed for a crime he did not commit who returns home looking for revenge against the people responsible. Directed by Potsy Ponciroli, the movie contains only five spoken lines of dialogue. That alone immediately separates it from most modern action movies, but the teaser makes it clear the silence is not some marketing gimmick designed to sound impressive in interviews. The lack of dialogue feels fully embedded into the movie’s identity. After years of increasingly overstuffed action blockbusters drowning themselves in exposition, franchise setup, and endless mythology, there is something refreshing about a film willing to let roaring engines, shattered headlights, smoke-filled streets, and bloodied fists do the storytelling instead.
‘Motor City’ Looks Built Around Alan Ritchson’s Strengths
One of the biggest reasons Reacher became such a breakout success is because Ritchson understands physical presence better than most modern action stars. He rarely needs long speeches or constant one-liners to dominate a scene, and Motor City looks specifically designed around those strengths. The teaser transforms Ritchson into a looming figure wandering through decaying Detroit, and because the movie reportedly uses almost no dialogue and the teaser communicates its silence well, every glance and movement suddenly carries more weight. That kind of storytelling demands a lead actor capable of holding attention without constant explanation, and Ritchson has been proving for years that he can do exactly that. Most audiences know him for blunt-force charisma and sheer physical dominance. Motor City looks to be taking those qualities and channeling them into something grimier, moodier, and more stylized. The teaser leans heavily into atmosphere, body language, and visual storytelling, creating the sense that this could become one of the most distinctive performances of Ritchson’s career.
The Near-Silent Approach Gives ‘Motor City’ Its Entire Identity
A revenge thriller with only five lines of dialogue sounds ridiculous on paper, which is probably part of why the concept feels so compelling. Modern blockbusters rarely trust visual storytelling alone anymore. Silence often feels treated like a problem that needs to be resolved immediately, while Motor City appears ready to weaponize it. Even without dialogue, the teaser feels incredibly loud because the imagery itself carries so much aggression. The film’s willingness to commit so heavily to a visual identity already helps Motor City stand apart from most modern action thrillers. Too many streaming action movies flatten themselves into the same gray blur of interchangeable fight choreography and disposable digital visuals. Motor City already feels sweaty, loud, dirty, and unapologetically stylized. The movie carries an actual personality, which is something many modern action thrillers struggle to maintain.
Jack White Might Be the Movie’s Secret Weapon
The other major reason the teaser lands so effectively is the music. Having Jack White‘s music backing such a visually and conceptually unique revenge thriller is a perfect pairing (seriously, it’s a Detroit-based film with White’s music, can it get more perfect?), and there’s no question that his gritty garage-rock sound will add to the film’s personality and energy. The supporting cast only adds to the intrigue. Alongside Ritchson, the film also stars Shailene Woodley, Ben Foster, Pablo Schreiber, Ben McKenzie, and Stephen Dorff, which is a strong lineup that should be able to support something so aggressively strange. What makes the teaser especially exciting is that nobody involved seems interested in sanding down the movie’s weirdness to make it feel safer or more commercial. A lot of action movies promise grit, but Motor City actually looks grimy in a way most modern action movies avoid entirely. And if the teaser is any indication, the movie may hit like a tire iron straight to the ribs.
- Release Date
-
July 24, 2026
- Runtime
-
103 Minutes
- Director
-
Potsy Ponciroli
- Writers
-
Chad St. John
- Producers
-
Greg Silverman, Jon Berg, Chad St. John, Cliff Roberts
Ben Affleck and Matt Damon’s company Artists Equity is the subject of a lawsuit alleging defamation against two Miami law enforcement officials who inspired its film The Rip.
According to a report by Entertainment Weekly, published on Saturday, May 9, Jason Smith and Jonathan Santana, two police officers from the Miami-Dade Sheriff’s Office, are suing the actors’ production company over their depictions in the Netflix movie, created by Artists Equity and released on January 16.
As the outlet pointed out, Smith and Santana are not mentioned or referenced to by name in the film, however the lawsuit alleges that performances by Affleck, 53, and Damon, 55, were “so heavily associated with the two officers” that the film caused “substantial harm to their personal and professional reputations.”
Us Weekly has reached out to Artists Equity and representatives for Affleck and Damon for comment.
The outlet stated that the lawsuit, which is reportedly seeking compensatory damages, punitive damages and attorney fees, is also the result of the film and its advertisements implying “misconduct, poor judgment, and unethical behavior in connection with a real law enforcement operation.”
The lawsuit reportedly accuses “Damon’s LLC production company Falco Productions of defamation per se and defamation by implication.” There is also an alleged claim made by the officers detailed as “intentional infliction of emotional distress.”
Damon and Affleck star as Lieutenant Dane Dumars and Detective Sergeant JD Byrne, respectively, in The Rip. It follows their journey after discovering $20 million of cartel cash and subsequently unearthing corruption within the Miami-Dade Police Department. As widely reported around the film’s release, the plot is based on the true story of Miami police officer Chris Casiano who served as the head of the department’s Tactical Narcotics Team in 2016 when a cash stash was uncovered.
Per the outlet’s reporting, Smith and Santana’s lawsuit details that the pair themselves “seized more than $21 million in June 2016,” as part of the event. The pair reportedly allege that “the film’s use of unique, non-generic details of the June 29, 2016, investigation, combined with its Miami-Dade setting and portrayal of a narcotics team, creates a reasonable inference that the officers depicted are Plaintiffs.”
The lawsuit also alleges that Smith and Santana’s lawyers sent the companies responsible for the film a letter “enumerating the allegedly defamatory details in the movie and demanded that they cease and desist from releasing it in December 2025.
Per the lawsuit, a representative for the companies “after the film was released,” and alleged that the concerns were “unfounded because the film did not expressly name Sergeant Smith and there was no implication that the Plaintiffs engaged in any misconduct in the film.”
Survivor has proven itself time and time again to be one of the most engaging and gripping reality television series to have ever been released. The show has been able to consistently defy expectations and break the mold season after season, thanks to its terrific cast of contestants, ingenuity and evolution over the years, and genuine understanding of what makes the game so compelling. The show has had numerous all-time iconic reality TV show moments, including some of the greatest and most iconic individual episodes in reality TV history.
Whether a season-long narrative is being fulfilled in the episode, or there’s simply a great individual story surrounding a player’s elimination, there are many ways an individual Survivor episode can become one of the all-time greats. With 50 seasons and over 20 years of high-stakes gameplay under their belts, there is absolutely no shortage of jaw-dropping and mesmerizing episodes that have kept audiences on the edge of their seats for decades.
20
“You Get What You Give”
Survivor: David vs. Goliath, Episode 8
One of the most satisfying things to see in Survivor is the underdog managing to get one over on those in power, with the fun of this concept directly leading to the existence of the David vs. Goliath season. Of course, this season managed to have its own exciting underdog play, with the sequence of events and planning leading to the vote-off in “You Get What You Give” making it one of the most impressive tribal councils ever played.
The brilliance of this play is how it takes classic maneuvers that have been a part of strategy for a long time now and brings them to their absolute extremes, with some of the best maneuvering and playing of idols in Survivor history. So much of the tension revolves around each main group, both underdogs and the primary group in power, having idols to change the way. However, in a play that has never been done before or since, the 5 people at the bottom end up splitting the vote from the minority, on top of having a correct idol play, in order to defeat the idol played in response to their own idol.
19
“The Marooning”
Survivor: Borneo, Episode 1
It feels a little cheap to have the very first episode of the season on the list of the very best that the show has to offer, but “The Marooning” really does set the stage and the impact of the series from the very first moments, captivating audiences in a way that hasn’t let up for over 25 years. This dynamic exploration of clashing personalities, harsh elements, and the true beginnings of gameplay and strategy is what continues to make this episode standout even after over 720 episodes.
It’s especially interesting and compelling for longtime fans of the series to revisit this initial episode, as the series is simultaneously finding its footing as well as establishing the core tenets of what makes the show so compelling. The series simply wouldn’t be as massive as it is today without the impactful execution of this amazing first impression, being about as great a first episode that a reality TV show could ask for.
18
“Create a Little Chaos”
Survivor: Philippines, Episode 4
A recurring trend that has happened across the three tribe format is that one team can find itself in a constant downward spiral of failure, consistently losing and unable to get a win until the tribe has lost the vast majority of its members. While several different seasons have had their own signature failing tribes over the years, Survivor: Philippines does the best job of examining such a disaster tribe, with “Create a Little Chaos” following the Matsing tribe at its absolute lowest.
At the beginning of the episode, Matsing only has three tribe members left: returning captain Russell Swan and fan-favorites Denise Stapley and Malcolm Freberg. Unlike many other episodes that immediately get into the action, “Create a Little Chaos” has this somber undertone of a team emotionally and physically devastated despite trying their best. It’s a style of energy and emotional storytelling rarely accomplished in Survivor, with the stakes only getting larger when Matsing has to return to Tribal Council and go from 3 to 2.
17
“Y’all Making Me Crazy”
Survivor: Edge of Extinction, Episode 8
While Survivor: Edge of Extinction is far from a perfect season, with numerous issues and complications that come as a result of its central twist, this doesn’t take away from how great an episode “Y’all Making Me Crazy” is. In one of the most unique and one-of-a-kind executions for an episode, it nearly speedruns through the immunity challenge, time on the Edge of Extinction, and discussions to get to tribal council faster. This all leads up to one of the most exciting and chaotic tribal councils of all time, one that lasted so long that they cut to a commercial break in the middle of it, and then came back to more discussion and chaos.
While live tribals have become a sort of unexpected mainstay in the more recent eras of the show, this episode easily features the greatest live tribal that the show has seen, with seemingly any outcome being possible. It easily elevates the entire episode as a result, with a multitude of iconic moments, hilarious quotes, and a wholly satisfying conclusion to one of the most chaotic episodes of all time. Especially considering where the season would go and conclude following this, it makes for easily one of the biggest highlights of the entire season.
16
“Dirty Deed”
Survivor: Game Changers, Episode 4
A great number of a season’s most iconic moments come from the latter half of the game, and the numerous high-level gameplay and manipulation afoot in the merge portion of the game. However, there can be occasionally rare yet equally impactful episodes from the pre-season of a season, with Survivor: Game Changers‘ Dirty Deed being a prime example. The major highlight and excitement of this episode comes from the comedic petty drama of the Nuku tribe after they lose the immunity challenge and are forced to vote someone off.
It’s rare that the decision and drama surrounding someone being voted off, especially in an all-returnee season, finds itself to be so simple and childish, yet Dirty Deed fully delivers in this regard. Realizing that there is brewing drama revolving around a container of sugar used for coffee in a previously won reward, mastermind player Sandra Diaz Twine strategically uses up the last of the sugar to create a divide among tribemates. This creates a hilariously unexpected rivalry between players J.T. Thomas and Michaela Bradshaw that lasts the entire episode, ending with J.T.’s elimination at the end of the episode.
15
“Zipping Over the Cuckoo’s Nest”
Survivor: Caramoan, Episode 10
While Survivor: Caramoan as a whole was a season riddled with controversies and issues, it was still able to have a number of stand-out individual episodes, most notably Zipping Over the Cuckoo’s Next. The episode revolves around the underdog trio of Malcolm Freberg, Eddie Fox, and Reynold Toepfer, who are on the outs in the merge against the powerful and dangerous Stealth R Us alliance. However, through the trio’s ingenuity and flashy idol play, they are able to get a leg up on the alliance and take out their infamous leader, Phillip Sheppard.
With Reynold earning individual immunity, Malcolm uses two separate individual immunity idols to keep both himself and Eddie safe from votes, giving the trio full power at tribal council, and allowing them to eliminate Phillip. This advantage-reliant and flashy play easily became the highlight of the season, as it saw the true and final defeat of one of Survivor’s most notorious figures of the era. The episode also features an emotional heart-to-heart moment between Dawn Meehan and Brenda Lowe in its first act, a moment that finds itself becoming relevant during the season’s finale.
14
“You Call, We’ll Haul”
Survivor: Cambodia, Episode 8
Many Survivor episodes attain such legendary status in the eyes of fans through the inclusion of masterfully played singular moments that have become iconic in the realms of the show’s history, with “You Call, We’ll Haul” from Survivor: Cambodia being the perfect example. This is more commonly remembered as the episode that features Kelley Wentworth‘s legendary idol play and blindside of Andrew Savage. This play still to this day holds the record as the most votes negated by an idol at once, with 9 votes being voided and saving herself from elimination in the process.
The buildup and execution behind this legendary idol play have launched both Wentworth and this signature episode into the annals of the most legendary and memorable moments in Survivor history. In a season that was filled to the brim with exceptional, high-level gameplay, exciting blindsides, and perfect reality TV moments, this episode still easily stands proud as the highlight of one of the greatest seasons in the show’s history.
13
“Run the Red Light”
Survivor 46, Episode 10
Easily one of the best episodes of the new era, “Run the Red Light” is the episode that features the infamous Applebees reward and subsequent meltdown by iconic player Liz Wilcox. However, this is only the tip of what has made this such an energizing and effective episode of the show, as all the drama and chaos surrounding this event reach a perfect climax during the episode’s vote-off and blindside. Despite all the anger that Liz feels towards Q Burdette and what he did, Liz ends up not voting for him and is the deciding vote in blindsiding the top threat Tiffany Nicole Ervin.
The new era has been largely defined by being safer, more family-oriented, and focused on wholesome feelings and togetherness between castaways. In a massive contrast, this episode stands out as a wild, wrathful, and powerful blindside that shows that Survivor is still the masterful game of social deduction that made it a worldwide phenomenon in the first place. The buildup and shock of Liz going against her own emotions to pull off an exceptional blindside is what Survivor is all about, and is why the show is so dynamic and beloved after almost 25 years.
12
“The Great Lie”
Survivor: Pearl Islands, Episode 11
Especially with the notions of strategy and perspective still being ironed out and defined in the early seasons of the show, Survivor had a lot of distinct moments and players who broke preconceived notions in terms of strategy and television gold. One such moment of ruthless manipulation set up even before the season started makes “The Great Lie” not just one of the best Survivor episodes, but one of the most iconic moments in reality TV history.
The Survivor: Pearl Islands episode has a lot of great moments throughout, from Sandra Diaz-Twine‘s outburst and throwing away of the fish following the previous episode’s elimination of Rupert Boneham to a miscalled challenge that had to be reevaluated. However, the true iconic moment that has made this episode legendary is in the loved ones visit, where Jonny Fairplay tricks everyone into believing that his grandma had passed away while they were on the show in order to garner sympathy and give him the reward. It’s a shocking moment of pure villainy that still stands as one of Survivor’s most iconic moments.
11
“The Ultimate Shock”
Survivor: Palau, Episode 14
Featuring easily one of the most iconic and legendary final immunity challenges of all time, the finale episode of Survivor: Palau, “The Ultimate Shock” initially starts off as any other finale, following the final four before immediately going into the final 3 and final tribal council. However, history is quickly made in the final immunity challenge, in which Tom Westman, Ian Rosenberger, and Katie Gallagher have to hang on buoys floating in the water for as long as possible. This challenge still holds the near-uncontested record as the longest immunity challenge of all time, lasting 12 hours and into the dead of night before Ian eventually gives to Tom in the name of friendship.
More than simply being an exceptional display of talent from its competitors, the emotion and drama leading up to and during this challenge have helped launch this into being one of the best episodes of Survivor. From the rising tension between Tom and Ian, Ian’s brilliant win of the final four fire-making challenge, and all the stakes in the world going to the final challenge, it all comes together to create one of the highlights of the early years of the show, and has gone down in history and will forever be tied to the show’s legacy.
The Lord of the Rings has wonder, sorrow, scale, friendship, terror, myth, and one of the greatest cinematic payoffs of all time. So to say only three trilogies are more fun is not saying they are better in some blunt, childish scoreboard way or in the exact same sense that LOTR is great. It is saying they deliver a purer, more repeatable kind of joy. So let’s have that out of the way.
This list is about trilogies that you can throw one on at midnight, catch five minutes, and accidentally lose the next two hours without resentment. The kind where your body already knows the rhythm before your mind has even sat down. That is the key distinction. The Lord of the Rings is majestic fun. It asks for reverence too. These three ask for delight with less ceremony and yet hook even more strongly for less attention — in the sense that I didn’t have to stay on my toes to make sure I don’t skip a beat of Middle Earth’s lore.
3
‘Rush Hour Trilogy’ (1998–2007)
The Rush Hour trilogy is fun in the most old-fashioned and durable way possible: two completely different energies crash together and the movies never get tired of that crash because Jackie Chan and Chris Tucker never stop finding new angles inside it. That is the miracle. A lot of buddy trilogies survive one great first pairing and then start thinning out. Rush Hour keeps generating pleasure because Lee (Jackie Chan) and Carter (Chris Tucker) are not just opposites on paper. They annoy each other at different frequencies. Carter performs life at top volume. Lee lives with control, speed, embarrassment, quiet competence. Every scene becomes about one man overselling reality while the other has to physically and emotionally correct the room.
And what makes the trilogy more than just “funny action with chemistry” is how beautifully it understands rhythm. Jackie’s fight choreography always gives the movies real lift, because his action is never only violence. It is wit through movement. Embarrassment through movement. Improvisation through movement. Then Tucker turns verbal panic into its own action form. So the trilogy ends up playing like a duet between body comedy and mouth comedy. Even when the plots get dumber, and they absolutely do, the movies still know what people actually showed up for: the escalating intimacy of two men who will complain about each other forever and still ruin anyone who tries to separate them. That is trilogy pleasure at a very pure level.
2
‘The Naked Gun Trilogy’ (1988–1994)
Some trilogies are fun because you love the characters. Some are fun because you love the world. The Naked Gun trilogy is fun because it attacks the very idea of composure. These movies do not merely tell jokes. They wage war on cinematic dignity itself. Every serious line, every police-procedural beat, every romantic gesture, every threat, every visual frame is treated like an opportunity for sabotage. And the reason the trilogy holds together so beautifully is Leslie Nielsen. Without him, these movies would just be aggressively written spoof machines. With him, they become something close to comic architecture.
Frank Drebin (Nielsen) is one of the funniest screen creations of his era because he is not in on the joke. That is the whole engine. He moves through disaster with complete confidence, and the writing keeps weaponizing that confidence against reality. He misunderstands space, tone, evidence, conversation, seduction, danger, all of it, yet never loses the solemn self-belief of a man absolutely certain he is the most capable person in the room. That lets the trilogy do something special. It can keep repeating the same deeper comic idea, Frank is catastrophically unfit for the seriousness surrounding him, without ever feeling repetitive, because the exact form of collapse keeps changing. The pleasure becomes cumulative. You are laughing at the ongoing fact that this man continues to exist at all. That is rewatchable joy on an almost chemical level that gives you more quick fun than any LOTR movie manages.
1
‘Back to the Future Trilogy’ (1985–1990)
This one takes the top spot because the Back to the Future trilogy does something almost nobody else has ever managed: it makes plot feel like play. These movies are so tightly built, so mechanically elegant, so obsessed with setups, payoffs, mirrored choices, alternate outcomes, inherited personality, and time-bending consequence, and yet they never feel like homework. And they’re brilliant family watches too. They feel like exhilaration. That is an outrageous achievement.
Look, most trilogies either get more mythic and heavier as they expand, or looser and sloppier. Back to the Future somehow gets broader and more intricate while staying feather-light on the surface. And that surface lightness hides real emotional intelligence. Marty McFly (Michael J. Fox) keeps being forced to see his family as human beings rather than fixed roles. George McFly (Crispin Glover) is not just a dad but because of time travel, a young coward who might become brave. Lorraine Baines McFly (Lea Thompson) is a teenager full of desire, confusion, and possibility. Then there’s Doc Brown (Christopher Lloyd) who’s a great ecstatic sad man, somebody who genuinely believes history is touchable and then keeps paying emotional prices for touching it. What makes the trilogy more fun than almost anything else is that it keeps turning complicated cause-and-effect plotting into something that feels like a child being told that the universe is made of gears and sparks and maybe, just maybe, you can still outrun disaster if you move fast enough and care hard enough. It is not only clever. It is delicious. That is why it wins.
Real Housewives of Rhode Island star Jo-Ellen Tiberi had some “hesitation” when it came to discussing her childhood on the show.
“It’s extremely private to me,” Jo-Ellen told Us Weekly exclusively ahead of the Sunday, May 10, episode of RHORI. “My past is what’s shaped me and who I am today. I’m not embarrassed of it. It’s just not something I typically would publicize for the world.”
Jo-Ellen felt like discussing what happened during her teenage years on camera would help viewers to understand her more.
“It is heavy. This is not something that, I feel like, Bravo has ever really touched on when you’re talking about homelessness, or if you’re talking about suicide, or if you’re talking about depression, being sent away,” she explained. “Those are really heavy topics. This is my real life.”
She continued, “It’s a hard topic to talk about.”
Jo-Ellen noted that she was “shocked” when she started receiving messages from viewers who “understand” what she’s experiencing with her mother.
“I feel good that I let it out there. I’m showing that if I got through it, so can you,” she said. “If anything comes from this, it’s that people can see it’s OK [and] things will get better.”
During Sunday’s RHORI episode, Jo-Ellen got emotional as she opened up to costar Alicia Carmody about her experiences in three different behavioral programs as a teenager .
“What did I do that was so bad that you put me in places with rapists, with murderers, with people that stab people, with, like, convicts,” Jo-Ellen wondered, adding that “99 percent of the people there were court ordered.”
In a confessional, Jo-Ellen explained that her mom was the “opposite” of a maternal figure while she was growing up.
“My mom tells me that she sent me to these places because she didn’t know what to do or how to control me,” Jo-Ellen added. “I wasn’t an out of control kid. I was a straight-A student. Her biggest problem with me was I had big boobs and boys liked me. She felt that I was promiscuous, even when I wasn’t doing anything.”
This week on Getting Real With the Housewives, The Real Housewives of Rhode Island star Jo-Ellen Tiberi thinks Rulla Nehme Pontarelli owes her an apology after she allegedly received video proof of her husband Brian Pontarelli’s affair. “He’s caught beyond red-handed, it’s irrefutable proof,” Jo-Ellen exclusively tells Us Weekly of the alleged video. “Some of […]
The first time Jo-Ellen was “sent away,” she went to a drug rehab in the seventh grade, but she had “never” done drugs. She was sent home after one week. The second place was “really rough,” but Jo-Ellen said the third — when she was in ninth grade — was “the worst.”
“My mom ended up giving partial custody to the state because her insurance stopped paying and she had me there for a little over a year,” she said. “It was really not normal and not a good place.”
Jo-Ellen said her mom called it “a boarding school,” which it was not. She left the facility after the state tried to take “100 percent control” of Jo-Ellen.
“I really try to block all of this out because it was a really bad time in my life. I was suicidal,” she said. “Many times for me, death was better than living with her. It hurts a lot to have no one that loves you growing up.”
While speaking with Us, Jo-Ellen revealed she’s “trying to improve” her relationship with her mom.
“My mom’s very, very proud of me. She’s very excited for what’s happened,” Jo-Ellen shared. “It’s a work in progress.”
New episodes of The Real Housewives of Rhode Island premiere via Bravo on Sundays at 9 p.m. ET and stream via Peacock the next day.
If you or someone you know is struggling or in crisis, help is available. Call or text 988 or chat at 988lifeline.org.
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