Entertainment
10 Greatest Fast-Paced Classic Movies
Trying to find fast-paced movies will often turn up movies that are a little more recent, in the overall scheme of things. Not every film, but the average film nowadays is going to be a little snappier and faster overall than, say, the average movie 60 years ago. You can have a preference, and it’s not like one approach is better than the other… more just the difference is there, and that’s that. It has been acknowledged.
Now, with older movies, there are some that are fast-paced. The ones below are all at least 60 years old, at the time of writing, and stand out nowadays for just how well-paced they are. The newest film here came out in 1966, the oldest is from 1931, they’re from various genres, and yet they’re all united by how well they hold up in terms of pacing, and how surprisingly easy they are to watch, even if you’re more used to how modern-day films move.
10
‘Rope’ (1948)
There’s a gimmick at the center of Rope, but it’s a great gimmick, and also one that’s more than sound enough to sustain the film for the entirety of its runtime. Said runtime certainly isn’t long, but even then, Rope passes by quicker than you’d expect, as its 81 minutes pass by almost in real-time, with the premise involving two young men who try to get away with what they believe is the perfect murder.
The murder happens right at the start, then they hide the body, and then they host a party for people who know their murder victim, challenging themselves as to whether they can keep that dead body hidden the whole time. It was directed by Alfred Hitchcock, and he finds every opportunity he can to make the whole thing exceptionally suspenseful, with the long takes that make up Rope (it’s pretty much nothing but long takes, with less than a dozen cuts in the whole film) also ensuring it stays engaging and highly thrilling throughout.
9
‘Some Like It Hot’ (1959)
It’s tempting to get hyperbolic whenever it comes to talking about Some Like It Hot, with it being probably the best Marilyn Monroe movie, and also potentially being the funniest film Billy Wilder ever directed. When it comes to whether it’s Wilder’s best movie, that’s a little harder to determine, since he was also very capable of putting out great dramas, and then you’ve also got oddities like Sunset Boulevard, which successfully rides the line between comedy and drama.
With Some Like It Hot, though, the focus is pretty much entirely on delivering laughs, with the whole thing being remarkably farcical and just non-stop with all the jokes it’s willing to throw at you. In lesser – but still fairly capable – hands, Some Like It Hot would merely feel like a comedy that was good for its time, but today, it can very much still be viewed/enjoyed as a flat-out great comedy.
8
‘Seven Samurai’ (1954)
Hyperbole is also hard to avoid when talking about Seven Samurai, which was one of the first truly great action movies done on an epic scale, and still remains one of the best to this day. It’s got a very straightforward story about assembling a team to take on a looming threat, preparing for an eventual battle, and then showcasing that battle as it plays out across much of the final act.
The whole thing is neatly divided into three compelling acts, with all the action holding up, and all the dramatic beats still being, you know, successfully dramatic and all. It’s all effortlessly done, and though Seven Samurai is long, it flies by without ever feeling boring, being worth highlighting pacing-wise because of just how long it keeps things moving for.
7
‘Casablanca’ (1942)
Casablanca has one of the very best screenplays ever written, with the quality of that writing ensuring everything moves at a great clip, with the dialogue being immense and the number of memorable characters proving surprisingly high. The two main players, though, are ex-lovers who get reunited quite suddenly during World War II, but their lives have both changed quite a lot, and one of them has a challenging moral decision to make about his future.
And among all that romantic melodrama, Casablanca is also quite exciting as a World War II movie made while said war was being fought, and having a decent amount of genuinely good (and not distracting) humor, too. That it all builds to one of the best endings in movie history is, strangely enough, icing on the cake, because Casablanca could’ve completely tripped over itself in its final 10 minutes, and it would still be worth watching for the breathless and timelessly engaging 90-ish minutes that came before.
6
‘Lawrence of Arabia’ (1962)
Like Seven Samurai, Lawrence of Arabia is an exceptionally long movie, but the hours do indeed pass by faster than you might expect. It’s a monumental film about T.E. Lawrence and what he did during the First World War, which ends up being a lot, even if most of the events of the movie only take place over about a year or so, which isn’t exactly long by the standards of the epic genre.
You don’t need to convey a person’s entire life, though, to make a character study on such a scale work. Lawrence of Arabia does paint a compelling portrait of its central character, and then also succeeds at providing a ton of spectacle to go alongside it. If you only ever watch a single epic movie that was made more than 60 years ago… well, you could make it Lawrence of Arabia. Or Seven Samurai. Hopefully, you can watch two or more, because missing out on one would be a shame.
5
‘M’ (1931)
One of the earliest “hunt for a serial killer” movies, much in the same way the previously-mentioned Seven Samurai helped codify/define action movies, M is easy to get wrapped up in while also appreciating how influential it ultimately was for the genre it belongs to. The serial killer here is one who’s targeting children, and he’s considered dangerous enough that basically everyone (people from differing sides of the law, in other words) teams up to try and find him.
There’s a bit more to M beyond that, as where it eventually ends up is undeniably interesting and thought-provoking. What it’s going for in terms of intensity and heaviness does indeed still feel intense and heavy, and the whole thing’s paced in a way which feels admirably relentless, all to an extent you don’t often see in movies that are nearing 100 years old.
4
‘Bringing Up Baby’ (1938)
Bringing Up Baby is one of those movies that took a while to get the appreciation it deserved, and so maybe it was just too fast-paced and wild for its time. They made a movie that was too funny, or at least too relentlessly funny, even by screwball standards. And this really is the ultimate screwball comedy, being about as anarchic as they come, perhaps even more so than Some Like It Hot, which was also about two decades older.
The premise of Bringing Up Baby involves two mismatched people crossing paths and then getting into a series of misadventures together, plenty of them involving the titular Baby, who is a leopard. If you’re of the opinion that older movies can’t be as funny as newer ones, then Bringing Up Baby is the kind of older film that may well help you see the light, so to speak.
3
‘North by Northwest’ (1959)
Just over a decade on from Rope, Alfred Hitchcock made another film that feels particularly well-paced, all these years later: North by Northwest. Now, including those and no other movies by Hitchcock shouldn’t suggest that there weren’t any other movies of his that have solid pacing, even by today’s standards… it’s more just that these two are particularly snappy (and, in any event, “best pacing” is a different thing from “best movie”).
It’s perhaps Hitchcock’s ultimate “wrong man on the run” movie, and it escalates so well throughout.
North by Northwest is one of the first great spy movies, or at least one of the earliest that feels, more or less, in line with what you’d expect to see in more modern-day spy/espionage movies. It’s also perhaps Hitchcock’s ultimate “wrong man on the run” movie, and it escalates so well throughout, with numerous great set pieces, just the right amount of humor/levity, and a perfectly utilized cast, too.
2
‘The Good, the Bad and the Ugly’ (1966)
Without a doubt, The Good, the Bad and the Ugly is one of the easiest-to-like Westerns ever made. You could see it belonged to such a genre, and then also see its runtime as three hours, and feel subsequently hesitant to actually watch the thing, but it’s very much worth devoting all that time to, in any event, because it’s such an effortless viewing experience.
The premise here involves three men racing each other across the desert, all while the American Civil War is going on, each of them in pursuit of a small fortune in gold that’s purportedly buried somewhere. The Good, the Bad and the Ugly is a perfect entry point into the Western genre, for anyone largely unfamiliar with that kind of film, and it’s honestly barely aged a day in the 60 years since it first came out.
1
’12 Angry Men’ (1957)
If you try to describe 12 Angry Men to someone, it might not sound like much, but it’s all in the execution here, where what’s seemingly simple becomes something closer to sublime. That’s a bit of a floaty and/or pretentious way to put it, but at its core, 12 Angry Men is about a bunch of guys sitting in a room and talking. They’re the members of a jury, and the trial they’ve sat through is an undoubtedly high-stakes one, but still, it’s probably not enough to make it sound riveting.
Things are helped by just how good the dialogue is, how strong all the performances are, and how well the whole thing is helmed by Sidney Lumet, who was, quite surprisingly, making his directorial debut here. 12 Angry Men is up there among the most enthralling drama films of all time, and one of those shining examples of how, if you know what you’re doing, you can make a perfect movie out of the most straightforward of premises.
12 Angry Men
- Release Date
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April 10, 1957
- Runtime
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97 minutes
- Director
-
Sidney Lumet
- Writers
-
Reginald Rose
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One of the biggest draws of cinema has always been its escapism, and no film genre fulfills that need quite as well as fantasy. With their imaginative worlds, endearing characters, and larger-than-life stories, fantasy movies have entertained and inspired audiences for generations. But while there have been a lot of great fantasy films released over the decades, the best of them all are the films that truly transformed the genre, pushing it to heights never before seen.
These are the films that didn’t just entertain audiences; they completely changed the game, becoming benchmarks and inspirations for all subsequent generations. The fantasy genre (and cinema in general) would be a vastly different world altogether without them, so it’s only right that we give these films the acclaim they deserve. Read on to discover our handpicked selection of fantasy movie masterpieces that are so great they became the blueprint for the genre.
1
‘The Lord of the Rings: The Fellowship of the Ring’ (2001)
Directed by Peter Jackson, The Lord of the Rings: The Fellowship of the Ring is an adaptation of J. R. R. Tolkien‘s classic high fantasy novel of the same name and the first part of Jackson’s The Lord of the Rings trilogy. Set in the fantastical world of Middle-earth, the story follows young hobbit Frodo Baggins (Elijah Wood) and his eight companions as they set out on a dangerous quest to destroy the One Ring, an evil artifact tied to the Dark Lord Sauron. The film’s ensemble cast also includes Ian McKellen, Liv Tyler, Viggo Mortensen, Sean Astin, Cate Blanchett, John Rhys-Davies, Billy Boyd, Dominic Monaghan, Orlando Bloom, Christopher Lee, Sean Bean, and more.
Universally acclaimed and immensely successful at the box office, Peter Jackson’s The Lord of the Rings movies have had as profound an impact on fantasy filmmaking as Tolkien’s novels did on fantasy literature. The first film, arguably the best of the trilogy, is widely recognized as one of the greatest movies ever made, and it earned several honors, including four Academy Awards out of thirteen nominations. Its influence can be seen in practically every high fantasy film made since its release, making it the definitive movie of its subgenre and one of the greatest of all time.
2
‘The Wizard of Oz’ (1939)
Adapted from L. Frank Baum’s iconic 1900 novel, The Wizard of Oz is a musical fantasy film produced by Metro-Goldwyn-Mayer and directed primarily by Victor Fleming. The movie stars Judy Garland as Dorothy Gale, a young girl from Kansas who finds herself transported to the magical land of Oz and embarks on a quest to meet the titular wizard in order to return home. Besides Garland, the film also stars Frank Morgan, Ray Bolger, Jack Haley, Bert Lahr, Billie Burke, and Margaret Hamilton.
A masterpiece of technical innovation, The Wizard of Oz was acclaimed in its time for its music, characters, plot, and visual effects, especially its brilliant use of Technicolor. Though it didn’t make a profit initially, the film earned three Academy Awards out of five nominations and has since become one of the most celebrated fantasy movies of all time. Easily one of the most iconic films in the history of cinema, The Wizard of Oz is a cultural touchstone that has been an inspiration to generations of filmmakers both within the fantasy genre and beyond.
3
‘Spirited Away’ (2001)
Written and directed by Hayao Miyazaki, Spirited Away is a Japanese fantasy anime film animated by Studio Ghibli and produced by Toshio Suzuki. The movie follows a young girl named Chihiro (Rumi Hiiragi), who accidentally enters the spirit world and takes a job working for a witch while trying to find a way back to the human world. The film’s voice cast also includes Miyu Irino, Mari Natsuki, Takashi Naito, Yasuko Sawaguchi, Tsunehiko Kamijō, Takehiko Ono, and Bunta Sugawara.
One of the most universally acclaimed and commercially successful anime films of all time, Spirited Away is a landmark of Japanese animation and one of the most influential animated films of all time. The movie has earned praise over the years for its hand-drawn animation style, emotionally deep storytelling, and imaginative world. Widely regarded as one of the greatest animated films of all time, the movie is also notable for being the first hand-drawn, non-English-language animated film ever to be awarded the Oscar for Best Animated Feature.
4
‘Snow White and the Seven Dwarfs’ (1937)
Produced by Walt Disney, Snow White and the Seven Dwarfs is an animated adaptation of the Brothers Grimm fairytale and the first animated feature film produced in the United States. Adriana Caselotti stars as the voice of Snow White, a gentle and kind young princess who hides from her evil stepmother, the Queen (Lucille La Verne), with the help of seven dwarves, voiced by Roy Atwell, Pinto Colvig, Otis Harlan, Scotty Mattraw, Billy Gilbert, and Eddie Collins. Harry Stockwell, Moroni Olsen, and Stuart Buchanan voice other supporting roles.
Easily one of the most influential Disney films of all time, Snow White and the Seven Dwarfs is a landmark of cinematic history that has entertained generations of fans with its music, animation, and timeless moral story. The film was a massive success in its day and has continued to win praise from worldwide audiences over the subsequent decades, making it one of the most enduring works of fantasy animation ever made. Not even Disney could make a better retelling of the classic fairy tale, and they tried!
5
‘Star Wars: Episode IV – A New Hope’ (1977)
Written and directed by George Lucas, Star Wars: Episode IV – A New Hope is an epic space opera that’s the first movie of the Star Wars film franchise and the fourth chapter in the franchise’s Skywalker Saga. Set in a fictional galaxy far, far away controlled by the tyrannical Galactic Empire, the film stars Mark Hamill as Luke Skywalker, a young farmboy from the desert planet Tatooine who sets out to rescue the kidnapped leader of the Rebel Alliance, Princess Leia (Carrie Fisher), and help the rebels destroy the Empire’s ultimate weapon, the Death Star. The film also stars Harrison Ford, Peter Cushing, Alec Guinness, David Prowse, and James Earl Jones in notable roles.
The first Star Wars movie was a massive, unexpected blockbuster when it first premiered in 1977, igniting the imaginations of a whole generation of fans and laying the foundations for what would eventually become one of the biggest global franchises of all time. An entertaining blend of science fiction and fantasy, A New Hope had a transformative impact on the genre, both in terms of its worldbuilding and the many filmmaking techniques it pioneered, including the original use of sound effects, props, models, and special effects. Today, the movie is widely regarded as a cinematic masterpiece and a major cultural landmark that’s adored by legions of fans around the world.
6
‘The Dark Crystal’ (1982)
Directed by Jim Henson and Frank Oz, The Dark Crystal is a live-action dark fantasy film that’s most recognized for its extensive use of puppets and animatronics, featuring no human actors at all. Set in the magical world of Thra, the movie follows two young Gelflings, Jen and Kira, as they embark on a quest to overthrow the evil Skeksis by restoring a shattered crystal. The film’s voice cast includes Stephen Garlick, Lisa Maxwell, Billie Whitelaw, Percy Edwards, and more.
The Dark Crystal had a pretty mixed reception when it first premiered in 1982, largely because of its dark tone, but the film has since grown into a cult classic that’s widely praised for its imaginative worldbuilding, unique production, and original story. The movie raised the bar for practical effects and creature design, pushing the art of puppetry to new heights, and it has been an inspiration to filmmakers and designers ever since. A prequel series, The Dark Crystal: Age of Resistance, was released on Netflix in 2019.
7
‘Pan’s Labyrinth’ (2006)
Written and directed by Guillermo del Toro, Pan’s Labyrinth is a Spanish‑language dark fantasy film set in Spain in the summer of 1944, not long after the end of the Spanish Civil War. Ivana Baquero stars as Ofelia, a young girl whose mother has recently married a ruthless Civil Guard officer, and the film follows her attempts to complete a quest that blurs the lines between myth and reality. Sergi López, Maribel Verdú, Doug Jones, Ariadna Gil, and Álex Angulo star in key supporting roles.
Pan’s Labyrinth premiered at the 2006 Cannes Film Festival to critical praise, receiving the longest standing ovation in the festival’s history. Universally acclaimed for its visual style, emotional depth, and layered narrative, the film was an exceptional success at the time of its release, earning numerous accolades, including three Academy Awards and three BAFTAs. The movie is arguably Guillermo del Toro’s greatest film, a fascinating blend of wondrous fantasy and historical tragedy that is widely regarded as one of the best films of the 21st century so far.
8
‘The Princess Bride’ (1987)
Directed and co-produced by the late Rob Reiner, The Princess Bride is a fantasy adventure comedy written by William Goldman and adapted from Goldman’s own 1973 novel. The film stars Cary Elwes as farmhand-turned-swashbuckler Westley, who seeks to rescue his true love, Princess Buttercup (Robin Wright), from the villainous Prince Humperdinck (Chris Sarandon), with the help of his quirky companions. Mandy Patinkin, André the Giant, Christopher Guest, Wallace Shawn, Peter Falk, Fred Savage, Billy Crystal, and Carol Kane star in supporting roles.
A true pop culture landmark, The Princess Bride is a timeless classic that has earned the praise of generations of critics and viewers with its combination of wit, romance, and swashbuckling action. Full of quotable dialogue, genre subversions, and entertainingly eccentric characters, the film was not a very big success at the box office when it first came out, but it has since grown into one of the most widely loved adventure movies of all time. A perennial cult classic, the film’s legacy was officially recognized in 2016 when it was selected by the Library of Congress for preservation in the United States National Film Registry.
- Release Date
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September 25, 1987
- Runtime
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99 minutes
- Writers
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William Goldman
The epics of Hollywood’s Golden Age are unlike anything the industry produces today. The enormous set pieces, colorful costumes, powerful performers, and iconic tales of deeply human drama that transcend the time periods in which they’re set — and Ben-Hur sets a high bar. You may not know that Ben-Hur was based on the novel Ben-Hur: A Tale of the Christ by Lew Wallace, which was first published in 1880. According to the U.S. National Endowment for the Humanities, it was second to the Bible itself in sales for decades until Margaret Mitchell‘s Gone with the Wind usurped the title. But while Ben-Hur is set in first-century Roman-occupied Judea, its roots go all the way back to the Wild West era of American expansion.
‘Ben-Hur’ Was Written By Governor Lew Wallace on the American Frontier
The famed 1959 Charlton Heston adaptation of Ben-Hur — which was first adapted as a silent picture in 1907, followed by a 1925 adaptation, a 2003 animated film, and a 2016 remake — is not only one of the most impressive technical marvels to find its way to the big screen, but easily among the most profound. Yet, the source material that sparked such a powerful epic was penned and published by author Lew Wallace while he served as Governor of the New Mexico Territory. Wallace had fought in both the Mexican-American War and the American Civil War, and at the tail end of the latter, even served on the commission investigating the assassination of President Abraham Lincoln. After the war, he pursued politics, ultimately backing the Republican abolitionist Rutherford B. Hayes in the 1877 presidential race. It was Wallace’s earnest support for Hayes that earned him his governorship of New Mexico, and in 1878 he arrived in Sante Fe just after the worst of the famed Lincoln County War.
Although Wallace was tasked with settling the dispute, which some believe carried on as long as 1981 when Sheriff Pat Garrett reportedly killed outlaw and former “Lincoln County Regulator” Billy the Kid (aka William H. Bonney), it didn’t stop him from continuing his research into first-century Judea, nor from finishing his biblically-inspired epic. As noted by the General Lew Wallace Study & Museum, “[Wallace] completed the final chapters of the novel, especially those dealing with the crucifixion of Christ, while he was serving as Governor of the New Mexico Territory.” This means that Ben-Hur was in the works at the same time that Wallace met with the Kid in hopes to use his testimony against the corrupt officials involved in the Lincoln County War.
Although Bonney agreed to Wallace’s request, he only did so on the condition of a full pardon for the three murders he was charged with during the conflict. The governor agreed to the terms and the Kid testified, but the local district attorney refused to honor the deal, leading to Bonney’s eventual escape. Wallace was forced, then, to sign Billy the Kid’s death warrant, which was one of his final acts as governor. While Ben-Hur is the farthest thing from a traditional Western, Lew Wallace’s classic novel is undoubtedly a product of his time on the American frontier.
‘Ben-Hur’ Was Lew Wallace’s Literary Masterwork
Five months after Ben-Hur: A Tale of the Christ was published, Wallace resigned from his post. His weary attitude toward the West came just in time as, only a few years later, Ben-Hur became a source of great wealth and success for the former governor and general. He left behind politics altogether by 1885. Although Wallace hadn’t visited the Holy Land before writing the book, the National Endowment for the Humanities notes that he spent nearly a decade researching the Ancient Near-East and diligently studying the period. So, when he finally made it to Jerusalem in 1882, he was pleased with how well his work represented what he saw.
These days, Western audiences likely remember Lew Wallace as the governor who “betrayed” Billy the Kid. Fictional depictions of Wallace have appeared in movies like Pat Garrett and Billy the Kid and Young Guns II, as well as television shows like Death Valley Days. (His work on Ben-Hur was briefly noted in the MGM+ series Billy the Kid.) For the most part, Wallace’s literary contributions have been largely been divorced from his time in the Old West. Even so, Ben-Hur remains a powerful tale that transcends his brief governership on the frontier.
Entertainment
‘Yellowstone’ Meets ‘John Wick’ in Denzel Washington’s Brutal Western Streaming for Free This Month
Seven dangerous fellas, zero interest in subtlety, and pretty horses. That’s this particular Western in a nutshell, because it does nothing quietly. It takes the bones of a classic story and then throws it into the body of a louder and bloodier action movie for modern times. It’s dusty, yes, and violent as well, but it’s the exact kind of movie that you’ll be looking for when you need something to stream late at night on the weekend.
The Magnificent Seven is streaming for free on Pluto this month, giving viewers another chance to revisit the brutal Western reimagining from Antoine Fuqua. The film is set in a desperate town that hires a group of outlaws, gamblers, bounty hunters, and gunslingers to protect them from a ruthless industrialist who wants their land. What could possibly go wrong? That setup is classic Western material, but it’s tinged with the revenge thriller aspect too, and it’s easy to see the Yellowstone comparison in its land-war setup, while the body-count-heavy action gives the whole thing a bit of John Wick energy, only with horses, dust, and fewer pencils.
The cast includes Denzel Washington (Gladiator II) as Sam Chisolm, Chris Pratt (Guardians of the Galaxy) as Josh Faraday, Ethan Hawke (The Lowdown) as Goodnight Robicheaux, Vincent D’Onofrio (Daredevil: Born Again) as Jack Horne, Byung-hun Lee (G.I. Joe: The Rise of Cobra) as Billy Rocks, Manuel Garcia-Rulfo (The Lincoln Lawyer) as Vasquez, and Peter Sarsgaard (Shattered Glass) as Bartholomew Bogue.
How Successful Was ‘The Magnificent Seven’?
In a manner of speaking, it did well, but it wasn’t a massive smash. It grossed about $162.4 million worldwide, including $93.4 million domestically, against a reported $90 million production budget, so that gives it about 1.8x its production budget. That’s a decent amount, but when marketing and advertising costs are factored in, the movie probably made a small loss. It opened well, though, with $34.7 million in North America and topped the box office that weekend. Critically, it was more mixed. Rotten Tomatoes lists it at 64%, with critics praising the cast and action but saying it didn’t really reinvent the Western as a genre. Collider’s review of the movie was absolutely not one of the positive ones as it slammed it for taking one of the finest Westerns ever made and turning it into a rote action movie. Why would you want to watch this if the original film or Seven Samurai are sitting right there?
The Magnificent Seven is streaming for free on Pluto this month.
- Release Date
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September 23, 2016
- Runtime
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132 minutes
- Writers
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Richard Wenk, Nic Pizzolatto
- Producers
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Roger Birnbaum, Todd Black
By Chris Snellgrove
| Published
One of the most interesting Star Wars supporting characters is Asajj Ventress, the murderous Sith who frequently tormented the Republic during the Clone Wars cartoon. She initially served as Anakin Skywalker’s dark counterpart, one who trained under Count Dooku just as the young Jedi trained under Obi-Wan Kenobi. Eventually, her story took some weird twists and turns: after being betrayed by Darth Sidious and Count Dooku, she tries to find a home with the Nightsisters and even some sleazy bounty hunters, including Boba Fett. Eventually, she has a face turn, ultimately helping to save Obi-Wan Kenobi and Ashoka, two Jedi who were once her sworn enemies.
While Asajj Ventress benefited from good writing, it was her voice actor, Nika Futterman, who really brought this complex villain to life. Futterman is an accomplished actor who has voiced some of the genre’s best characters, including Hawkgirl and Catwoman. However, what even the biggest Star Wars fans don’t realize is that Futterman helped connect their favorite franchise to one of the most beloved and most controversial bands of the ‘90s. You see, long before she voiced a Sith apprentice, Futterman sang the “give it to me baby” part of the hit Offspring song “Pretty Fly (For a White Guy).”
Nothing Ventress, Nothing Gained
Like many voice actors, Nika Futterman has had a very unconventional career. Since the mid-90’s, she has voiced characters in just about every geeky franchise under the sun. This includes Marvel, DC, Ninja Turtles, Scooby-Doo, and so many more. In 2008, she voiced Star Wars character Asajj Ventress in the Clone Wars movie, a role that carried over to the Clone Wars television show. Her casting was a pleasant surprise, as Ventress had been previously voiced by Grey DeLisle in the earlier, 2D Clone Wars show. Futterman has gone the distance in a galaxy far, far away and continued voicing Asajj Ventress in the Star Wars shows Tales of the Underworld and The Bad Batch.
Early in Futterman’s career, she dabbled in music. Her most notable achievement in this arena included performing in the hit 1998 Offspring song “Pretty Fly (For a White Guy”). Futterman doesn’t sing along with the band, exactly; instead, she provides the iconic refrain “give it to me, baby!” that arguably makes the song so memorable. While the song proved to be immensely popular, some found it offensive because most of its humor was based on race. Specifically, the song is filled with tongue-in-cheek references to the titular white guy desperately trying (and failing) to be cool by doing things like buying Vanilla Ice records and cruising around in a Pinto.
Give It To Her, Baby!
The song was a breakout hit for The Offspring, a band that made a name for itself with vulgar lyrics that celebrated aggressive behavior and mocked everything from poser culture to authoritarian posturing. As such, they were considered highly offensive by conservative critics of the ‘90s, which, in retrospect, isn’t really fair. If you can get past the foul language and songs about sex, drugs, and rock’n’roll, you are left with a successful band that simply helped make punk attitudes and aesthetics mainstream. In terms of punk, these guys are infinitely less offensive than, say, hardcore punk legend GG Allin.
Whether you hate or celebrate The Offspring, their connection to Star Wars is wonderfully surreal. One year before The Phantom Menace hit theaters, the woman who would ultimately voice the prequels’ coolest spinoff character was singing an infectiously catchy, hilariously suggestive refrain for the most vulgar bop of the decade. In its own way, that song was even prophetic when it comes to the Chosen One of a galaxy far, far away: Anakin Skywalker. This angry young man might never have been granted the rank of Master, but even the stodgiest members of the Council can agree on one thing: he is pretty fly, for a white guy!
Off Campus star Mika Abdalla and ex-fiancé Jake Short are speaking out exclusively to Us Weekly regarding a controversial resurfaced podcast clip that’s been making waves online following their split.
“We’ve seen a conversation around clips of us together when we were in a relationship, and people making harmful and inaccurate assumptions about our dynamic,” read the joint statement from Abdalla, 26, and Short, 29, about the resurfaced conversation from a 2024 episode of “The Sit and Chat” podcast. (In the video, Short made a joke in reference to Abdalla that some social media users have since dubbed controversial online.)
The former couple noted to Us that they “were in a loving, respectful relationship for five years” and “it’s hurtful to see playful moments dissected in a way that does not reflect the respect and love we had and still have for each other.”
The exes put on a united front just days after Us broke the news of their split after five years together. In a statement to Us, a rep for Abdalla said, “Because of the immense curiosity about Mika’s personal life and in light of numerous erroneous reports, I can clarify that Mika and Jake are no longer in a relationship.”
The Off Campus cast has, similar to their fictional counterparts, have found success in their personal dating lives. Based on the Off Campus book series by Elle Kennedy, the show, which premiered in May 2026, follows an elite ice hockey team — and the women in their lives — as they “grapple with love, heartbreak […]
The spokesperson noted that Abdalla and Short continue “to support each other as friends,” adding, “I’d ask that Mika’s and Jake’s privacy be respected at this time.”
The former couple started dating after they met on the set of Sex Appeal in 2021, even getting engaged before parting ways. Abdalla,
has since been focused on her career following her breakout role on Prime Video’s Off Campus.
Based on the Off Campus book series by Elle Kennedy, the show, which premiered in May, follows an elite ice hockey team — and the women in their lives — as they “grapple with love, heartbreak and self-discovery — forging deep friendships and enduring bonds while navigating the complexities that come with transitioning into adulthood,” read the official synopsis.
Season 1 is centered around the “sexy and fun ‘opposites attract’ romance between quiet songwriter, Hannah and Briar University’s all-star hockey athlete, Garrett.”
Mika Abdalla and Stephen Thomas Kalyn Liane Hentscher / Prime
Ella Bright and Belmont Cameli led the first season, with Allie and Dean (Stephen Kalyn) being next in line. Before production kicked off on season 2, Abdalla spoke to Us about the support for the show.
“Since the cast was announced, I feel like there’s been theories circulating online, and it’s been really interesting to read it,” she shared about the book to TV show changes. “I for sure think people are going to be at least surprised.”
Abdalla specifically addressed the surprise introduction of Hunter Davenport (Charlie Evans) — despite him not being linked to Allie in Kennedy’s version of the story.
“It was really important to have that scene to slow down what was happening between Allie and Dean. I want to see them kind of go. I want to see them really separate,” Abdalla hinted. “Allie just got out of a long-term relationship. She can’t do what she always does. … I really like the edition of the Hunter story line drama. They need to grow as individuals. And so I really want to see Ali and Dean grow separately in season 2.”
The actress was thrilled to see what would come next for Allie and Dean.
Abdalla expressed excitement at the chance to explore more of the fictional couple’s relationship.
“I’m just really looking forward to digging deeper into who Allie and Dean are. They both kind of have these fronts, these personas that are hard to kind of crack through. They are kind of stereotypes of themselves, if that makes sense,” she told Us. “But in the books, there’s so much beneath the surface of Dean and there’s so much beneath the surface of Allie.”
Abdalla continued: “When it is time for our season, I’m excited to dig emotionally into that a little bit more. [We] see Allie and Dean as their exteriors a lot in season 1. And while that is fun, and they are super fun characters to play, I think as actors, selfishly, both of us are really excited to like, get psychological.”
By Chris Snellgrove
| Published
For the most part, I’m a big fan of the Russo Brothers. Some of their non-Marvel work has been pretty lackluster (like The Gray Man and The Electric State), but they still deserve kudos for bringing us superhero cinema like Avengers: Infinity War and Avengers: Endgame. Before that, they also directed some of the best episodes of Community, arguably the greatest sitcom ever made. So, for all my misgivings about modern Marvel, I breathed a sigh of relief when I heard they’d be directing Avengers: Doomsday and Avengers: Secret Wars. If anybody could breathe life back into this franchise, it’s going to be the guys behind the last two MCU projects anyone cared about.
However, my respect for these guys really went down a few notches when they made a recent appearance at SXSW London. The two were hosting a headline session called “Building Artistic Universes Without Borders,” and it didn’t take them long to start talking about their upcoming Marvel movie. At this point, Joe Russo made a startling statement: “We are back to phase zero. This is starting over from scratch. We want to make sure everybody feels like this isn’t leaning on anything from the past.” With respect to this acclaimed creator, this quote makes me want to ask a simple question of the Russos: just how stupid do you think fans really are?
You And The Cap’n Make It Happen
Obviously, the Russos aren’t going to spill too many beans about the upcoming film Avengers: Doomsday. Anthony Russo admitted that he and his bro were “exhausted” after Avengers: Endgame came out because there was a seven-year push to get that film off the ground. They were eager to move on and do new things, but writer Stephen McFeely gave them an unspecified “creative idea that reignited [the project], and I can’t talk about that creative idea, because it’s the basis for Doomsday, but that [idea] all of a sudden broke the skies open for us, and we saw all new kinds of possibilities with that idea.”
That’s when Joe Russo chimed in about Doomsday being a way to go “back to phase zero” and “[start] over from scratch. We want to make sure everybody feels like this isn’t leaning on anything from the past.” When he said this, it felt a bit like I was having a stroke. While we won’t know what McFeely’s cool idea is until Doomsday hits theaters this December, it’s clear that the Russos’ upcoming MCU film is leaning on things from the past in every possible way. For example, the movie is bringing back Chris Evans’ Captain America in a shameless attempt to put butts in seats.
He’s Gonna Take You Back To The Past
Robert Downey Jr. is returning, too, but instead of playing Iron Man, he will inexplicably be playing Doctor Doom. His return is even more shameless, and this is the second time Marvel Studios had to deliver dump trucks of cash to get Downey back after his contract ran out. Ironically, we were going to have a fresher villain in the form of Jonathan Majors’ Kang, but Marvel needed to replace Majors after he was convicted of assault and harassment. Downey may very well dazzle in this role, but it’s wild to hear the Russos say they aren’t “leaning on anything from the past” while bringing back the man who kickstarted the MCU in 2008.
That also extends to the growing army of cameos in Avengers: Doomsday. So far, we know that we’ll see heavy-hitting MCU legacy actors like Chris Hemsworth, Sebastian Stan, and Tom Hiddleston. We’ll also be getting Thunderbolts actors like Wyatt Russell and David Harbour, some standalone heroes we haven’t seen in a hot minute (like Simu Liu and Letitia Wright), and all of the Fantastic Four actors (including Pedro Pascal). Perhaps most excitingly, we’ll see the return of classic X-Men actors like Patrick Stewart, Ian McKellen, and Hugh Jackman.
Making The Fans See Red
Believe it or not, that’s just a tiny fraction of the returning Marvel actors that we know about. Obviously, the prospect of seeing so many heroes onscreen is exciting; it’s the cinematic equivalent of just dumping out the entire toy box and having madcap crossover adventures. But by definition, jamming as many returning MCU characters into a film as humanly possible is the opposite of “starting over from scratch,” a statement made by one of Marvel’s most successful directors as he gets back on the horse for one last ride into a superhero sunset.
Ironically, this empty attempt to market Avengers: Doomsday to the masses has made me more anxious about the film than ever before. If the Russos have something to say, they can just say it instead of making vagueposting statements that sound like lazy AI slop. Furthermore, they can promote their blockbuster film without outright lying to us and saying that a film built on endless legacy character cameos and made by returning Marvel directors “isn’t leaning on anything from the past.” Clearly, these guys think their fans are idiots, which leaves us with a depressing question: if this is how dumb they think the audience is, just how incredibly stupid will the movie actually be?
The last week or so has been a roller-coaster ride for fans of the Paramount+ gangster series MobLand. The show premiered to mostly positive reviews in 2025, and instantly emerged as the single greatest challenger to Taylor Sheridan‘s Yellowstone. A second season was quickly green-lit, and was in production until recently. However, shortly after filming concluded on the show’s second season, it was reported that star Tom Hardy had been fired from upcoming seasons for clashing frequently with showrunner Jez Butterworth. Hardy is the de-facto lead of the series, even though Pierce Brosnan and Helen Mirren‘s characters are given equal prominence in the narrative. That Hardy would be fired sounds extraordinary. Soon after this report broke, an update suggested that the Oscar nominee is still involved in the show and that everyone involved is looking for an amicable way forward.
This sounds like the perfect time for audiences to remind themselves of Hardy’s sheer talent and immense screen presence by rewatching arguably his best performance. It came in a 2014 movie that unfolded essentially like a one-man play set in a single location, a moving car, and relying entirely on the central performance to fuel the narrative and create drama. The movie in question, Locke, featured Hardy as a man who decides to be present at the birth of a child conceived during an affair, while having phone conversations with the unborn child’s mother, as well as his wife and sons waiting for him at home, unaware of the mess he’s put himself in.
Here’s Where You Can Watch ‘Locke’ for Free This Month
Locke marked the beginning of Hardy’s creative partnership with filmmaker Steven Knight, with whom he worked on the television series Peaky Blinders, Taboo, and A Christmas Carol, and as an executive producer on a 2023 adaptation of Great Expectations. While Hardy is the only actor on screen in Locke, supporting characters are voiced by Olivia Colman, Tom Holland, Ruth Wilson, and Andrew Scott. The movie was released domestically by A24 and grossed around $5 million worldwide. It holds a “Certified Fresh” 91% score on the aggregator website Rotten Tomatoes, where the consensus reads, “A one-man show set in a single confined location, Locke demands a powerful performance — and gets it from a never-more-compelling Tom Hardy.” You can watch it for free in the U.S. this month on Tubi. Stay tuned to Collider for more updates.
- Release Date
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April 25, 2014
- Runtime
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84 Minutes
- Director
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Steven Knight
- Producers
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Guy Heeley, Joe Wright, Paul Webster, Stuart Ford, David Jourdan
By Chris Snellgrove
| Published
You know how Jabba the Hutt periodically punishes people by throwing them into the Sarlacc Pit? This method of execution is evidence of just how sadistic this crime lord really is. He doesn’t want to give anyone a quick death via blaster or via those cool Gamorrean axes. No, he wants those he punishes to languish in isolation, fear, and general misery, all of which makes every moment until death that much more excruciatingly painful. Well, I’ve never been executed by Jabba the Hutt, but I do have a lot of experience hanging out in a place defined by isolation, fear, and misery: it’s X, the social media platform formerly known as Twitter.
Most of my time on X is hellish for all the reasons you’d expect: monetized rage dominates your feed, while boring bluechecks pay each month to ensure we all have to see their room-temperature-IQ tweets. Every now and then, though, you find something on X that makes all the suffering worth it. For example, I learned the other day that the worst Star Wars movie almost became a black comedy because George Lucas wanted a Phantom Menace podracer’s entire family to get a dramatic introduction, just to make it weirder when he blows up!
George Lucas Is Crazier Than You Ever Imagined
When The Phantom Menace came out, some old-school Star Wars fans were annoyed by a gentle retcon to the lore. In A New Hope, Obi-Wan Kenobi insists that Anakin Skywalker was already an amazing pilot when they first met. But in TPM, we see that the closest thing to a starfighter that Anakin has piloted thus far is a podracer. Later, he finally does fly a starship, but it’s tough to see him as a great pilot in these scenes because the movie goes out of its way to confirm that Anakin is mostly just barking orders at R2-D2 and mashing random buttons like your little brother trying to play Street Fighter II.
However, in fairness to Star Wars creator and Phantom Menace director George Lucas, the podracing scenes were probably the second coolest thing about this first prequel (first place obviously goes to the big lightsaber duel at the end). Anakin seems that much more impressive once you see how dangerous podracing is; after all, we see one podracer, Ratts Tyerell, die a fiery death after he accidentally crashes into a wall. In the final cut of the film, this death isn’t played for laughs. But in a downright demented deleted scene, Lucas had his entire family watch him die after the announcer wished them luck!
Dying While Your Whole Family Watches
Okay, let’s be real: when I say that Ratts Tyerell’s family watched him die, what are you envisioning? Some doting parents, maybe a single, supporting family? No, my friend, it’s so much worse. His wife is there, his two older kids, and even his newborn baby! How do we know it’s a newborn? The weird, two-headed announcer specifies that she came straight from the hospital to watch her husband race. She and the kids look at Ratts with mixed hope and worry as he speeds off to what would ultimately be his final podrace. This makes his death darkly amusing while making Ratts one of the best Glup Sh*ttos in Star Wars history.
In case you don’t know, “Glup Sh*tto” is a term for obscure characters that only hardcore Star Wars fans care about. These characters usually have tons of bizarre lore, and Ratts Tyerell is no exception: in the books, we find out that his son, Deland Tyerell, was so traumatized by his father’s death that he created the Ratts Tyerell Foundation. This organization’s sole purpose was to expose how dangerous and often illegal podracing was. His efforts were successful, and podracing was ultimately banned from the Core Worlds. This likely increased galactic interest in starship racing, which would have benefited Han Solo: canonically, he became a successful starship racer after Return of the Jedi.
An Explosive Star Wars Death
Weirdly enough, the creation of Ratts Tyerell and the decision to have his whole family (including three kids!) watch him die has made me respect George Lucas even more. In the middle of writing an epic trilogy that would straddle two millennia and change sci-fi forever, he still found the time to give a meaningless character the darkest, funniest death in the entire franchise. You know that weird noise Ratts makes right before he dies, the one you can’t stop laughing at? That was the earnest, painful cry of a man who would never even get to cradle his newborn child in his arms. Not so funny now, is it, you monster?!
(Psst. Just kidding. Ratts Tyerell dying while his whole family watches is funny as hell and should have been in the final film!)
By Chris Snellgrove
| Published
There are few alien creatures in Star Wars that fans hate more than the Ewoks. Some despise these little dudes because such happy-go-lucky care bears seem out of place in Return of the Jedi, the climactic final act of a very serious film trilogy. Others look down on Ewoks because they represent George Lucas’ pretty blatant shift from storyteller to toy salesman. Some of the more hardcore fans, meanwhile, resent the Ewoks because they took the place of fearsome Wookies that were written into previous versions of the script.
Admittedly, the Ewoks are annoying in Return of the Jedi: they’re just so cute and so weirdly stupid that it’s mind-boggling to think they could, Viet Cong style, overcome the best of the Empire’s highly-trained, highly-armed Stormtroopers. However, outside of that movie, the Ewoks can be pretty funny, especially when they engage in very weird, very public displays of horniness. Don’t believe it? Then it’s time to travel back to a long, long time ago, to a special Halloween episode of the Today Show in which a drunken Ewok kept humping Al Roker’s leg on live television!
Meet The Galaxy’s Horniest Ewok
If you don’t usually watch the Today Show, I don’t blame you. Most of the time, the show is all about vapid people exchanging empty smiles while they discuss even emptier topics, all to avoid offending their target demographic: elderly people who have become one with the couch. Every now and then, though, this aging talk show delivers us a moment of off-kilter brilliance. That’s exactly what happened in 2009, when the Today Show aired a Halloween special that was all about Star Wars. We get to see Al Roker dressed as Han Solo, which would honestly be reason enough to watch this surreal clip from a bygone era.
This whole segment was lighthearted, which is likely why producers included a couple of Ewoks. The Ewoks were hilariously out of character, acting a bit more like Gremlins as the hosts demonstrated how to get the decorations and wine just right for a Halloween party. Things get even weirder when one of the Ewoks approaches a host, only to be told, “down, boy, down! Down. Sit, sit! Good dog.” While you are still reeling from the weird space racism, something wild happens: the chastised Ewok tries to run away with a martini while the other one apparently starts groping one of the hosts. “What’s he doing behind me?” she cries, before noting “they’re awfully frisky.”
When He Can’t Stop Establishing Dominance
Believe it or not, all of that weirdness was just an appetizer leading to the main course. The brown Ewok who had been seemingly grabbing butts earlier starts demonstrating his moonwalking skills to a delighted Al Roker. When Roker points out his moves, the Ewok one-ups things by doing the freaking stanky leg. He continues dancing as he shuffles towards the man and, without warning, starts dry-humping Roker’s leg! After the critter backs off, a chuckling Roker can only say, “I feel so dirty.”
Insanely enough, the brown Ewok wasn’t done making everything as perverted as possible. He gets down on the floor and begins doing push-ups. When a guest points out the creature’s calisthenics, he stops doing push-ups and starts passionately humping the straw-covered floor. This is the final “straw” for Roker, who jokes that his guests from Better Homes and Gardens must be excited to witness all this before he cuts to a commercial.
Honestly, this is probably my favorite Star Wars media of the last 20 years. Everything just gets stranger as the clip goes on, and it’s amazing to see the Ewoks as we’ve never seen them before: drunk, handsy, and obscenely horny. It’s very obvious that Al Roker was expecting none of this, and it’s hard to stop laughing while he gets molested by the most hated alien in all of Star Wars, all on live television. However, I can’t help but question the Today Show hosts’ knowledge of this galaxy far, far away. Roker shouldn’t have been so impressed by moonwalking. After all, on the forest moon of Endor, all walking is moonwalking!
Dwayne “The Rock” Johnson is seeing the funny side after an influencer was left scratching her head over the star’s latest product endorsement.
Taking to TikTok on Tuesday, June 2, influencer Katy Napier (@happyyellowco) shared a video of herself coming across the Jumanji actor’s personal care brand Papatui.
In the footage, which subsequently went viral with more than five million likes, Napier showed the products as well as an ad of Johnson, 54, which featured his bald head.
“Don’t give up on your dreams,” Napier said in the clip. “The Rock is selling shampoo and conditioner, and he’s bald.”
Kayla Oaddams/WireImage Dwayne Johnson is breaking into beauty. Johnson, 51, announced his new men’s grooming line, Papatui, via an Instagram video shared on Wednesday, March 7. “I am so excited … I’m hyped to finally be able to share this really amazing news with you guys after years in development and years of testing this […]
Text overlaying the video doubled down on the sentiment. It read, “Go for it.”
Two days later, Johnson humorously clapped back with a video response posted via his social media accounts.
Johnson stitched Napier’s video with a clip of himself wearing his long locks in character as Maui for the live-action Moana movie.
“Ok this made me belly laugh.. HARD 😂😂😂 👏🏾👏🏾👏🏾 🤜🏾🤛🏻,” Johnson captioned the post. “And hey, sometimes a Demigod’s radiant and ravishing hair needs shampoo/conditioner 😜🪝 You’re Welcooooome 🎶Love ~ Maui 🪝”
Proving there are no hard feelings, Johnson added, “Ps ~ I got a little gift coming your way, @happyyellowco 😉🥂.”
@happyyellowco Dream big. #therock #dwaynejohnson #bald #shampoo #dreambig
It’s not the first time Johnson’s Papatui brand has raised eyebrows with shoppers.
When the brand launched in March 2024, some people made similar jokes about buying shampoo and conditioner promoted by a bald man.
“Boy, this man has no business in the shampoo department,” one puzzled TikTok user joked at the time, while another quipped, “I’m not gonna buy shampoo from a hairless man!”
Dwayne “The Rock” Johnson has laid the smackdown on the WWE and Hollywood for nearly 30 years. Thank You! You have successfully subscribed. Subscribe to newsletters Enter your email Please enter a valid email. Subscribe By signing up, I agree to the Terms and Privacy Policy and to receive emails from Us Weekly Deal of […]
Speaking to GQ, Johnson revealed that he decided to launch the personal care brand after years of being asked about his skincare routine.
“The interaction is always the same when it comes to [asking about my skin routine],” Johnson told the outlet at the time. “They start looking around like, ‘Hey, can I ask you: What do you do?’ I wanted to get guys in the space of being comfortable owning our skin care and our self-care because we like to think — we try our best, by the way — to own all these other areas.”
He added, “I’m certainly no expert, but I’ve been lucky enough to have access to some of the best.”
The former WWE wrestler has also never been one to shy away from joking about his lack of hair.
In April 2017, Johnson joked via X, “I’m not bald because I went bald. I’m bald because my hair is a cross between an afro and hair from a Lama’s ball sac.”
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