Star Wars. Alien. 2001: A Space Odyssey. These titles are synonymous with the term “masterpiece.” These science fiction classics not only influenced the entire genre, but they also reminded audiences of the stories that could be told under the sci-fi umbrella. These films are often regarded as perfect, allowing them to live rent-free in our minds. But what about those titles that are just shy of perfect that then get lost in space? No pun intended.

The films we’re about to discuss are good but not perfect. They’re lacking that one element that pushes them to masterpiece status. The science fiction pictures on this list have a special place in our hearts, but the general population has let other films take that spot. It’s time to reclaim these films and get them back into the conversation with the greats.

1

‘The Fifth Element’ (1997)

Image via Columbia Pictures

It may not be totally fair to say that The Fifth Element is a completely forgotten film, as it still lives rent-free in many of our minds. That said, the cult classic science fiction action film doesn’t get nearly enough attention today. Directed by Luc Besson, the film, set in the 23rd century, follows taxi driver and former special-forces major Korben Dallas (Bruce Willis), who protects Leeloo (Milla Jovovich), a supreme being, to stop a “Great Evil” from destroying Earth. Together with four elemental stones, they must harness the power of love to save humanity from industrialist and alien threats. With some of the most fabulous space fashion in all of sci-fi cinema, The Fifth Element is vibrant, campy, and tremendously unique.

Within the realm of the genre, there simply has never been a film like The Fifth Element. Wonderfully wacky is one of the best ways to describe it. Through vivid and detailed world-building, The Fifth Element establishes a rich universe you immediately feel immersed in. Plus, who doesn’t dream of wearing Jean-Paul Gaultier? Between Chris Tucker as Ruby Rhod, Gary Oldman as Jean-Baptiste Emanuel Zorg, and the iconic Diva Plavalaguna, have we seen another space opera look so extraordinary? By no means does The Fifth Element paint a pretty picture of the future. Instead, it finds the vibrancy through color and extravagance that resembles some semblance of hope. At the end of the day, it’s the love that we’re all seeking.

2

‘Lost in Space’ (1998)

Image via New Line Cinema / Courtesy: Everett Collection

There is certainly a part of the readership who will label the 1998 movie adaptation of Lost in Space as “Danger, Will Robinson.” But if you take the film for what it is, compared to many cinematic adaptations of classic IP in the ’90s, Lost in Space is one of the strongest. Based on the ’60s television series, the big-screen adaptation finds the Robinson family, while attempting to colonize a new planet to save a polluted Earth in 2058, gets sabotaged by Dr. Smith (Gary Oldman). Their ship, the Jupiter 2, is knocked off course, leaving them stranded in a hostile, uncharted region of space trying to find their way home. With a cast that included William Hurt, Mimi Rogers, Heather Graham, and Matt LeBlanc, Lost in Space matched the energy of the source material while inviting a new generation into the beloved IP.

Finding a distinct visual style that brings Lost in Space into a new decade, the retro vibes keep the film nostalgic while still building its own identity. There’s an innate sense of wonder that’s central to Lost in Space, serving the film well. Some maintain that the film is so bad it’s good, but that’s why it’s a perfect guilty pleasure obsession. Though Oldman has certainly evolved in the roles he’s played recently, if you want to see a juicy villain performance, Lost in Space sees him in an exceptional turn. However, you feel about the film, Lost in Space has been wrongly lost to time.

3

‘Europa Report’ (2013)

Image via Start Motion Pictures

Many of our favorite found-footage-style thrillers take place on the ground, but for one set in space, look no further than 2013’s Europa Report. Directed by Sebastián Cordero and written by Philip Gelatt, the story recounts the first crewed mission to Europa, one of Jupiter’s four Galilean moons. Despite a disastrous technical failure that causes the loss of all communications with Earth and a series of further crises, the crew continues its mission to Europa and finds mounting evidence of life on the moon. An underrated sci-fi space adventure, Europa Report is a claustrophobic exploration of space suspense and heart-pumping horrors.

Told through a non-linear structure, Europa Report builds its suspense through the unknown in an unpredictable manner. Giving it a documentary feel makes the action more raw and realistic. By building upon the atmospheric tension, Europa Report balances the line between science fiction and horror. Europa Report, which features a stellar performance from Pluribus star Karolina Wydra, pushes the gripping emotional experience into the immersive setting to portray the dangers of space travel. A truly underrated film, Europa Report is highly impressive.

4

‘Strange Days’ (1995)

Image via 20th Century Studios

It’s quite shocking to realize that any team-up between Kathryn Bigelow and James Cameron could be forgotten, but look at their body of work. Strange Days predates epics like Titanic and The Hurt Locker. The dystopian science fiction thriller, set in Los Angeles in 1999 during the last two days of the year, follows Lenny Nero (Ralph Fiennes), an ex-cop turned dealer of Superconducting Quantum Interference Device, or SQUID recordings (black-market virtual reality clips of real-life memories and sensations) and Lornette “Mace” Mason (Angela Bassett), a bodyguard and limousine driver, as they are drawn into a criminal conspiracy involving Nero’s ex-girlfriend Faith Justin (Juliette Lewis) and friend Iris (Brigette Bako). Tackling dark themes of voyeurism, addiction to technology, racial tension, and police brutality, Strange Days took the woes of the ’90s and used an allegory to hold a mirror up to society.

Though watching this film today may not hit quite the same as it may have in 1995, seeing as we’ve already lived through the turning of the millennium, it’s unsurprising how Bigelow and Cameron dreamed up this scenario. In a way, it’s been a prophetic film regarding body-cam footage, police violence, and the dangerous addiction to virtual, voyeuristic experiences. Though it was a box-office disappointment, the film has found a following among cinephiles thanks to its stylish, gritty neo-noir approach. It’s a compelling film that contains social commentary that strikes a chord.

5

‘Bicentennial Man’ (1999)

Image via Buena Vista Pictures

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The prime reason why Bicentennial Man is a mostly forgotten masterpiece is simply that nearly every other ’90s Robin Williams film is extraordinary. Williams appears as Andrew, an NDR-series android purchased as a household appliance that unexpectedly develops emotions, creativity, and self-awareness. Following his 200-year journey to be recognized as human, Andrew undergoes significant physical and emotional evolution. A precursor to many AI-themed robot films of the 21st century, Bicentennial Man is a sentimental science fiction drama with heart and passion.

Based on the 1992 novel The Positronic Man by Isaac Asimov and Robert Silverberg, it is an epic film about the quest for humanity. Director Chris Columbus strives to discover how a robot can navigate human emotions, including love, while learning about its own morality. As Andrew’s conscience begins to develop and he fights to find legal standing to become human, Bicentennial Man opens up a window to how individuals in our own society, not men of steel, battle the same war daily. Williams brings a truly beautiful performance to the screen that’s filled with heart.

6

‘Scanners’ (1981)

Image via Filmplan International

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Once Alien reminded audiences how science fiction and horror can blend so beautifully together, other filmmakers sought the same mix in their films. One of the ’80s’ wildest sci-fi horror films was David Cronenberg’s Scanners. The film follows Darryl Revok (Michael Ironside), a rogue, powerful telepath or “scanner,” who leads an underground movement to dominate “normals” and create a new race of mutants. ConSec security sends Cameron Vale (Stephen Vale), a struggling scanner, to stop him, leading to a deadly psychic battle and revealing they are brothers created by the sedative Ephemerol. A mind-melting thriller, Scanners is visceral, cerebral, and brilliantly graphic.

Though some of the action is minimalistic in big-budget scope, Scanners is best known for its daring, pioneering body horror that’s nothing short of gruesome. Cronenberg’s brilliance makes the low-budget film look like a masterpiece. The film is shocking and haunting, reminding you how the genre has evolved through time. Just imagine how a Scanners remake might look today. Though we all know those attempts failed. Scanners will make your head explode.

7

‘Dreamscape’ (1984)

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In 1984, Joseph Ruben brought the world the cult classic Dreamscape. Combining science fiction, horror, and action-adventure, Dreamscape is essentially the surrealistic ’80s version of Inception. The film tells the story of Alex Gardner (Dennis Quaid), a gifted psychic recruited by scientists to enter, explore, and manipulate patients’ subconscious dreams. On his journey, Alex helps people overcome nightmares but uncovers a government plot by a corrupt agent, Bob Blair (Christopher Plummer), to use this technology to assassinate the President (Eddie Albert) in his dreams. Tackling the power of the subconscious, Dreamscape is a daring political thriller that, in a sense, was well ahead of its time.

Though it may not effectively process dreams in a proper, logical manner, Dreamscape’s premise is what you come for. Even with some fun, cheesy dream sequences, the film makes up for it with the hero and villain’s performances. Of course, the film has been forgotten because of Christopher Nolan’s sensational dream thriller, but you simply cannot deny the influence Dreamscape had on Inception. Dreamscape is a film that deserves rediscovery.

8

‘The Faculty’ (1998)

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Imagine a modern adaptation of Invasion of the Body Snatchers told through a ’90s teen horror lens. Got it? Say hello to the underappreciated, iconic campy horror thriller The Faculty. Directed by Robert Rodriguez and written by Kevin Williamson, The Faculty was lost in the shuffle during the rise of Scream and I Know What You Did Last Summer. Dropping in a science fiction element, The Faculty stood out for its story and cast. The film follows a mismatched mix of teens at Harrison High as they discover that their teachers are being controlled by parasitic aliens. As the teens make their way through the halls, they must fight the invasion, realizing that a homemade, caffeine-based drug kills the parasites. With self-aware characters and the sudden knowledge of how to defeat their alien foes, the story may veer into ridiculousness, but it’s extremely enjoyable entertainment.

With an ensemble including Jordana Brewster, Clea DuVall, Laura Harris, Josh Hartnett, Shawn Hatosy, Famke Janssen, Piper Laurie, Bebe Neuwirth, Robert Patrick, Usher Raymond, Jon Stewart, and Elijah Wood, The Faculty is a cavalcade of who’s who that have a blast. Tonally, The Faculty creates a brilliantly mysterious, dark atmosphere that delivers jumpscares and surprises. Had The Faculty not had such severe competition, it might have been a more revered hit, but even Williamson couldn’t get it to be better than his others. In the age of remakes, The Faculty has joined the conversation. With Drew Hancock at the helm, should it come to fruition, we might get something as good, if not better.

9

‘Cloud Atlas’ (2012)

Image via Warner Bros.

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If you’re a science fiction fan who loves a complex narrative that spans multiple stories, look no further than Cloud Atlas. Based on David Mitchell‘s 2004 novel, the era-spanning story explores how individual actions and consequences impact one another across past, present, and future. With themes of reincarnation, the immortality of the soul, and interconnectedness, the stories range from the 19th-century Pacific to a post-apocalyptic future that questions whether souls travel through time and if human nature remains constant. Cloud Atlas‘ groundbreaking interrupting narrative reaches a climactic peak that defines humanity’s dangerous thirst for power.

Directed by Tom Tykwer and the Wachowskis, the cast is quite strong in talent, including Tom Hanks, Halle Berry, Hugo Weaving, Hugh Grant, Susan Sarandon, and many more. With each actor taking on multiple roles across the various narratives, the film’s mission becomes clear. What makes Cloud Atlas a fascinating film is how timeless the themes are. They pair effortlessly into the epicness, which is quite visually extraordinary. Cloud Atlas is an elaborate film that has simply been lost to time.

10

‘Wing Commander’ (1999)

Image via 20th Century Fox

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Before we brought video game franchises like Fallout and The Last of Us to the small screen, Hollywood took another video game franchise and slapped it onto the big screen: Wing Commander. Directed by Chris Roberts, the science fiction film follows 27th-century human pilots — First Lieutenant Christopher “Maverick” Blair (Freddie Prinze Jr.), Lieutenant Commander Jeannette “Angel” Deveraux (Saffron Burrows), and First Lieutenant Todd “Maniac” Marshall (Matthew Lillard) — as they defend Earth against the Kilrathi, a warlike alien race. Essentially Top Gun in space, Wing Commander became a cult classic that the larger population saw as the beacon for the first Star Wars: Episode I — The Phantom Menace trailer.

With intense dogfights and centralized space combat, Wing Commander‘s loose adherence to the game franchise allowed it to earn its own identity (though some may feel that’s why it initially bombed). Instead, it’s a gritty, action-packed, retro-futuristic aesthetic. With the likes of Prinze Jr. and Lillard, the film captured the rising young stars of the time, taking them out of the horror-sphere into the sci-fi realm. If there’s one thing that we should thank Wing Commander for, it’s its influence on future projects, namely Battlestar Galactica.

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Wing Commander

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Release Date

March 11, 1999

Runtime

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100 minutes

Director

Christopher Roberts

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Writers

Christopher Roberts

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• 

  Freddie Prinze Jr.

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  1st Lt. Christopher Blair

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  Saffron Burrows

  Lt. Cmdr. ‘Angel’ Devereaux

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  Matthew Lillard

  Lt. Todd ‘Maniac’ Marshall

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  Tchéky Karyo

  Cmmdre. James ‘Paladin’ Taggart

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The Passion of the Christ arrived with a hint of controversy to it more than two decades ago, but that did nothing to harm its box office prospects as the movie went on to become the highest-grossing R-rated movie of all time for a generation. And now, Mel Gibson is finally preparing to continue the story — but he’s promising it won’t be the story you think you know.

Gibson has spent years developing The Resurrection of the Christ, a massive follow-up — it can’t truly be called a sequel — that eventually grew so large it had to be divided into two films. Now, Gibson has confirmed both installments are already in the can and almost good to go.

Speaking with Collider’s Steve Weintraub during a panel at Fan Expo Boston, Gibson revealed that The Resurrection of the Christ: Part One and Part Two were filmed simultaneously in Rome and are currently deep into post-production. When asked whether both films had been completed, Gibson confirmed that principal photography is finished and teased just how unusual his approach to the Resurrection will be.

“Yeah, I shot them both in Rome and together at the same time. So now I’m in post-production. I’m editing and doing visual effects. It’s pretty crazy. I don’t think it’s anything anyone would expect.”

The project wasn’t something Gibson originally planned immediately after The Passion of the Christ. Instead, the concept evolved for more than two decades, with Gibson spending close to a decade writing alongside Randall Wallace, who previously wrote Braveheart, as well as Gibson’s brother. He explained that simply depicting the Resurrection as a linear sequel wouldn’t adequately communicate the story he wants to tell.

“Well, I didn’t initially set out to make this part, but over about 23 years — well, 23 years before we started to make it — but it took almost 10 years to write it with Randall Wallace and then my brother, and we sat down and we rolled our sleeves up, and it was a very difficult subject because anybody gets murdered in public and then under his own strength and power comes back to life, and there’s not just a biblical account,” Gibson stated. “There are 17 separate secular historians that attest the same kind of thing. So it’s not a fairy tale, and the object is to make it believable and understandable at the same time, and it’s a very difficult thing to understand. So you can’t just tell the linear story that way. It’s like, okay, you have to juxtapose the actual event against many other actual events in order to grasp the significance of it, so it’s another jigsaw puzzle. It’s not linear.”

Why Is ‘The Resurrection of the Christ’ in Two Parts?

Gibson also confirmed the split was already built into the screenplay rather than something discovered during filming or editing. According to the filmmaker, the sprawling story naturally divided itself into two distinct pieces.

“It had it in the script, but it had a natural breaking point. There’s Part One and Part Two, and they’re distinct. I think they stand alone as individual pieces, but they do complete one another. So that’s good.”

Perhaps the biggest and most divisive difference from The Passion of the Christ will be immediately noticeable. While Gibson’s 2004 film was performed primarily in Aramaic and Latin, both Resurrection installments will be in English because of the complexity of the material.

“I think you can afford to do that sometimes,” said Gibson. “Sometimes you can’t afford to do that, like the Resurrection films, Parts One and Two. They’re both in English because the subject matter and just the theological download you have to go through is so complex that I don’t think people would like to have to read it in subtitles in a foreign language. You want to be able to digest it straight away. So I tailored the material to fit the audience, and I think having it in the vernacular would be better for it.”

Gibson later revealed just how enormous the production became, explaining that practical sets were constructed for Jerusalem, Damascus, Rome, Egypt and the desert before being dismantled once filming wrapped. “We deconstructed the sets on the Resurrection films one and two. Those sets you will never, ever in this industry see sets built like that ever again… It was Jerusalem, it was Damascus, it was Rome, it was out in the desert, it was Egypt, it was the whole thing, and massive sets built by the man who did the sets on The Passion, Francesco Frigeri, and he’s a master. He’s a maestro of this company, so he built these sets, and they were magnificent.”

The Resurrection of the Christ: Part One and Part Two are currently in post-production.

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Release Date

March 26, 2027

Writers

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Randall Wallace, Donal Gibson

Producers

Jim Caviezel

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Many can make a sci-fi show, but only a few can make perfect ones. The art of sci-fi isn’t new. Dating back to the 2nd century AD with A True Story, one of the earliest recorded works about an intergalactic war, the genre has spent centuries imagining what humankind could achieve through scientific pursuit. But the moral implications that come with those discoveries are another matter. For all of science’s noble pursuit of knowledge, not everyone intends to use it for good, and that’s where the best sci-fi stories prosper.

Over the past three decades, sci-fi has continued to reinvent itself, from the craftsmanship of building practical sets when CGI was still in its infancy to imagining alternate versions of Earth where technology has gained the upper hand over society. From a hive mind that sparks an existential crisis to an animated series written by Harvard graduates, here are the most perfect sci-fi shows of the last 30 years, ranked.

10

‘Pluribus’ (2025–Present)

Image via Apple TV

From the mind behind Breaking Bad and Better Call Saul, there’s a mind-controlling apocalypse brewing in Pluribus. When a viral RNA blueprint infects the world, nearly everyone is absorbed into a hive mind known as “the Joining”—except cynical romance writer Carol Sturka (Rhea Seehorn). As one of only 13 people on Earth immune to the virus, Carol finds herself stuck in an existential limbo.

Traditionally, dystopian societies are portrayed as destructive, but Pluribus flips that idea on its head. The hive mind is productive and only seeks collective happiness. While some survivors are tempted by the promise of joining “the Others,” Carol questions whether this untied happiness can truly be real if it’s under dictator-like control.

9

‘Lost’ (2004–2010)

Image via ABC

Everyone’s worst fear is an airplane crash, but for the 48 survivors of Oceanic Flight 815 in Lost, the crash is just the beginning of their problems. Stranded on an island in the South Pacific with no sign of rescue, every passing day brings more uncertainty. Just when they think they’re alone, they discover the island has mysteries of its own.

The genius of Lost is how it combines something as natural as Mother Nature with the artificial, man-made world of science, creating a blurry line between what’s real, fake, and even supernatural. As the survivors encounter temporal anomalies, out-of-body experiences, and other impossible phenomena, the island becomes far stranger than it first appears.

8

‘Fringe’ (2008–2013)

Image via FOX

Fringe follows FBI agent Olivia Dunham (Anna Torv) as she joins the Fringe Division to investigate a series of bizarre, coordinated fringe-science events threatening Earth. To uncover the truth, she teams up with eccentric scientist Dr. Walter Bishop (John Noble) and his son, Peter Bishop (Joshua Jackson), whose expertise proves essential in stopping increasingly dangerous phenomena.

No amount of FBI training could prepare anyone for destructive parallel universes. For all its blockbuster spectacle, Fringe is built around an endless stream of borderline unsafe scientific experiments. From seemingly harmless ideas like teleportation to more disturbing concepts such as mind-melding and genetic mutation, these experiments become the key to connecting two parallel Earths—even if every breakthrough comes with consequences.

7

‘Futurama’ (1999–Present)

Image via Hulu

Don’t be fooled by its kitschy cartoon aesthetic—Futurama has sci-fi credentials worth bragging about. Pizza delivery boy Philip J. Fry (Billy West) is accidentally frozen in 1999 and only thawed out on New Year’s Eve 2999. The world has changed drastically since then, but one thing hasn’t: he ends up working for the futuristic delivery company Planet Express.

While Futurama is packed with laughs, its writing staff is no joke. Together, the team boasts three Ph.D.s, seven master’s degrees, and more than 50 years of combined education at Harvard University. From time travel to advanced robotics, the show’s sci-fi ideas are grounded in real science, with writer Ken Keeler even creating the famous body-switching Futurama theorem.

6

‘Firefly’ (2002–2003)

Image via FOX

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Years before the sleek, high-tech world of The Expanse, there was the rugged, dusty frontier of Firefly. Set in 2517, the series follows veteran soldier Malcolm “Mal” Reynolds (Nathan Fillion), who fought on the losing side of a civil war and now scrapes by on the fringes of Alliance-controlled space aboard his aging Firefly-class transport ship, Serenity.

Joined by a crew of smugglers, mechanics, mercenaries, and fellow outcasts, Mal takes whatever jobs keep food on the table. In true space cowboy fashion, Firefly delivers one of sci-fi’s earliest looks at a gritty, lived-in galactic future, with rich world-building that combines American Western aesthetics with Mandarin Chinese culture following the Alliance’s merger of the United States and China.

5

‘For All Mankind’ (2019–Present)

Image via Apple TV

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In For All Mankind, it is the Soviet Union that reaches the moon first in 1969 instead of America. However, in this alternate take on space history, the Space Race is only just beginning. Unwilling to accept defeat, some of NASA’s brightest astronauts, engineers, and leaders must stay two steps ahead of their Soviet counterparts to keep the dream of space exploration alive.

Nobody does space exploration like For All Mankind. Beyond the moon and the possibility of life on Mars, each season jumps to a new decade, forcing the creators to continually build an alternate history inspired by real events. The series imagines an accelerated Space Race fueled by technological breakthroughs, from asteroid mining for clean energy to building permanent settlements on Mars.

4

‘Farscape’ (1999–2003)

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Usually, it’s the aliens who make first contact with humans. In Farscape, it’s the other way around. Human astronaut John Crichton (Ben Browder) is accidentally pulled through a wormhole during an experimental space flight and ends up aboard Moya, a living spaceship carrying a group of fugitives on the run from the militaristic Peacekeepers.

Farscape helped set the standard for what great intergalactic sci-fi could look like. Partnering with The Jim Henson Company, the series is a visual feast, packed with practical sets, elaborate alien makeup, detailed prosthetics, and impressive animatronics. While many sci-fi shows are remembered for their complex plots, Farscape is a love letter to the artistry and craftsmanship of sci-fi world-building itself.

3

‘Dark’ (2017–2020)

Image via Netflix

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In the small town of Winden, Germany, Dark immediately throws the community into unease following the disappearance of a young boy. As a group of local teenagers searches for him near the town’s nuclear power plant and cave system, they stumble into a wormhole that sends them across time.

Dark earns its praise for being immensely intricate despite the massive scale of its story. Not only does it have to connect the dots between four families, but also three generations of each. The show’s 33-year time-travel cycle slowly reveals unsavory truths about their intertwined histories. No matter how hard the characters try to change their fate, every outcome seems to make things even worse.

2

‘The Expanse’ (2015–2022)

Image via Prime Video

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Set hundreds of years in the future, The Expanse takes place in a colonized Solar System where the United Nations on Earth and the militarized government of Mars have long been suspicious of each other’s motives. Caught between them is the Asteroid Belt, where much of humanity’s working class labors to extract the natural resources that keep both planets running.

The meticulous world-building in The Expanse becomes a character in its own right, showing how life differs depending on which celestial body people call home and the systems they live under. The series may be epic in scale, but it never loses sight of the fact that power, inequality, and control remain the same, no matter how advanced technology becomes.

1

‘Severance’ (2022–Present)

Everyone wants the perfect work-life balance, and Severance shows it is possible—at a very intrusive cost. The corporate cult sci-fi series takes the mundaneness of bleak cubicles and fluorescent-lit ceilings and gives it an unnerving twist. To improve office efficiency, Lumon Industries creates the severance chip, a surgical brain implant designed to divide a person’s consciousness.

The device creates two personalities: the “innie,” who exists only in the workplace with no recollection of the outside world, and the “outie,” who gets to live a normal life. In theory, it sounds like the perfect solution. In practice, Severance exposes the inhumane lengths corporations are willing to go to in the name of productivity—a premise that doesn’t feel entirely fictional.

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Severance

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Release Date

February 17, 2022

Network

Apple TV

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Showrunner

Dan Erickson, Mark Friedman

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The modern action thriller is something that’s incredibly easy to get wrong, which is why you need a combination to click. You need the perfect screenplay, the perfect cast and the perfect director, and very few movies manage to get all three. This movie, however, managed to pull it off with aplomb and that’s why, more than a decade later, it’s still absolutely crushing it on streaming.

Sicario is currently powering its way through various streaming charts and proving why it’s one of the finest crime films ever made. Taylor Sheridan penned the script before he became the Yellowstone guy and the King of Paramount+. The movie is essential viewing for anyone who likes their crime thrillers gritty, loud and tense. The Denis Villeneuve–directed film follows FBI agent Kate Macer (Emily Blunt), who gets recruited into a covert task force that’s hunting down Mexico’s most dangerous drug cartels, but the morality of the mission starts weighing on Kate’s mind early on. The official synopsis states:

“After an idealistic FBI agent (Emily Blunt) is recruited by a government task-force official (Josh Brolin) to pursue a drug lord, she begins a perilous mission that forces her to question everything she believes and pits her against a shadowy consultant (Oscar winner Benicio Del Toro) with a dangerous agenda.”

The film also stars Benicio del Toro (The Phoenician Scheme) as Alejandro Gillick, Josh Brolin (Dune: Part Two) as Matt Graver, Daniel Kaluuya (Nope) as Reggie Wayne, Victor Garber (Family Law) as Dave Jennings, Jon Bernthal (The Accountant 2) as Ted, and Jeffrey Donovan (Law & Order) as Steve Forsing.

Was ‘Sicario’ a Success?

Sicario earned $84.9 million worldwide against a reported $30 million budget, which made it a modest but clear success when it was released, which was especially pleasing considering the challenging subject matter. It also received three Academy Award nominations, including Best Cinematography, Best Original Score and Best Sound Editing.

The thriller holds an outstanding 92% critics’ score on Rotten Tomatoes, alongside an 85% audience score. Audiences awarded it a CinemaScore of A-, and it’s considered to this day perhaps Sheridan’s finest piece of work, as well as the movie that set Villeneuve apart as one of Hollywood’s most promising directors, a claim that he has only cemented in the decade since.

Sicario is available to stream now on HBO Max, Hulu and Frndly TV. Stay tuned to Collider for more updates.

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Release Date

September 17, 2015

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Runtime

122 minutes

Director

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Denis Villeneuve

Producers

Basil Iwanyk, Edward McDonnell, Ellen H. Schwartz, Molly Smith, Thad Luckinbill, Stacy Perskie

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Britney Spears is getting candid about her less-than-ideal experience with cosmetic procedures.

“[My doctor] put so much Botox in this left eye that it drooped down,” Spears, 44, said in an Instagram video shared Friday, August 7, recalling her past injectables experience. “It’s just now starting to raise up and be normal again.”

Spears, who claimed that her surgeon was “so embarrassed” by the apparently botched Botox job, further issued a warning to anyone planning to get injections themselves.

“Girls, you have to be careful if you do Botox,” the pop star stressed. “These people and these doctors can really f*** your eyes up. My eye [wouldn’t] sit down … for, like, four weeks. It’s just now starting to rise again. Be careful with these people; they try to change your face and try to f*** things up. Be careful with your bodies because it’s yours and you own it.”

Related: Britney Spears Looked Like ‘Somebody Beat the S—t Out of Me’ After Botox

Britney Spears has tried Botox and is now vowing to “never again” get more of the injectables. “Too many times, these so-called ‘best doctors’ do amazing Botox. Never again in Los Angeles,” Spears, 41, wrote via Instagram on Friday, August 11, revealing she first got the procedure in New York City several years earlier. “For […]

Spears captioned her upload, “You can’t trust anyone!!!”

The “Baby One More Time” singer has previously been candid about getting work done.

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“Too many times, these so-called ‘best doctors’ do amazing Botox. Never again in Los Angeles. My first time, I just did [my] lips in New York City. WAY different than LA … so subtle, it was an adorable pout,” Spears wrote via Instagram in August 2023. “For probably 10 to 15 years, I haven’t had mine done right  … I can’t even be seen for two weeks [afterward].”

Related: Britney Spears Shows Off New Stripper Pole With a NSFW Dance Routine

Britney Spears recently purchased a stripper pole — and she put it to the test by performing a sexy dance number. “Got this pole two days ago and last night was my first time on it !!! 🤷‍♀️🤷‍♀️🤷‍♀️🌹🌷🌷,” Spears, 41, captioned an Instagram video of her routine on Sunday, August 14. Set to the song […]

According to Spears, her face had swelled after getting the Botox injection.

“Sometimes the nerves act that way and have a reverse effect, and I’m like, ‘I look like somebody beat the s*** out of me,’” she recalled, noting her doctors said to “give it a week or two” before seeking a follow-up opinion. “I go back and show the doctor. She says that’s completely normal, and I said, ‘Then why can’t I go anywhere for two weeks?’ and my friend’s sisters laughed. F*** BOTOX, it is horrific!!!”

Roomies, Jada Wallace and Chris Brown’s little one is clearly keeping his mama wrapped around his finger! A new photo has social media zooming in on a tiny detail Jada appears to have added as a permanent tribute to her baby boy, while Arrow was busy stealing the spotlight in the sweetest way.

RELATED: Daddy Duties! Chris Brown Shares Adorable Photo Alongside His Baby Boy Arrow

Jada Wallace Shows Off Her Tatted Hand, And It’s For Arrow

In the photo, Jada’s arm can be seen wrapped around Arrow as she rocks a camouflage zip-up. A closer look at her hand appears to show a new tattoo reading “ARROW” in a straightforward font, with what appears to be “Kristopher” written underneath in a smaller, cursive style. A rosary-style tattoo also appears to run alongside the lettering and up her arm, though it’s unclear whether that design is new or was already there.

Baby Arrow Had Everyone Swooning Over His Chunky Cheeks

Meanwhile, baby Arrow had the internet swooning in his own right. The little one looked extra adorable in a cream-and-brown striped shirt paired with denim pants, serving up those signature chunky cheeks and an irresistibly squishy face as he cozied up next to his mama.

Fans Had Thoughts On Jada’s Arrow Tattoo

Folks quickly ran to The Shade Room’s Instagram comment section to share their two cents on Jada Wallace’s apparent tribute to baby Arrow. Some pointed out that she’s his mom, so of course she would want to get her baby’s name tatted, while others wondered if “Kristopher” is Arrow’s middle name. Meanwhile, plenty of commenters couldn’t get over just how adorable the little one is, especially those chunky cheeks.

One Instagram user @sharlinadiane said, “Now nobody told you to tat my man name girl lmao”

This Instagram user @sadiekreates added, “The baby is soooo cute 😍”

And, Instagram user @s3kbabyy_ wrote, “…It’s HER son ofc she’s gonna tatt his name”

Meanwhile, Instagram user @being_meika25 claimed. “She just wanted to show that arrow name is Christopher with a K😂”

While Instagram user @iam.kaylaarenee shared, “Soo adorable look just like Chris 🥹”

Lastly, Instagram user @jxlly_.teddies._ commented “Christopher with a K. Not mad at it 😌🔥”

RELATED: Peak Dad Energy! 6 Times Chris Brown Had Fans In Their Feelings After He Spent Time With His Kids (VIDEO)

Kimberly Williams-Paisley will forever have a piece of her Father of the Bride movie mom Diane Keaton’s signature style.

“Recently, I bought this hat and gloves from the Diane Keaton auction. I’m so happy to have some of her iconic style with me,” Williams-Paisley, 54, wrote via Instagram on Friday, August 7, sharing a snapshot of herself rocking a black suit with a brown bowler cap and sheer gloves.

She continued, “While my friends and I were carefully unpacking these items and getting ready to shoot this [photo], a gorgeous, gigantic bald eagle landed in a nearby tree, stayed for a moment and then flew off.”

According to Williams-Paisley, it felt “so rare” to see a bald eagle calmly perch on a branch.

Related: ‘Father of the Bride’ Stars Mourn Late Diane Keaton: ‘A Brilliant Light’

Stars of the iconic Father of the Bride franchise will forever remember their matriarch, Diane Keaton. News broke on Saturday, October 11, that Keaton died at the age of 79. A cause of death was not immediately revealed. The Oscar-winning actress, who is survived by her two children, starred as Nina Banks in 1991’s Father […]

“It definitely felt like Diane’s energy was around us!” the actress gushed on Friday. “The hat says, ‘NO MORE WAR,’ and [Diane had] added a skull and crossbones. So, I’m passing along her message. 👑✌🏻❤️🕊️.”

The 911: Nashville star played Annie Banks Mackenzie in 1991’s Father of the Bride and 1995’s Father of the Bride: Part II. Keaton, who died in October 2025 at the age of 79, portrayed matriarch Nina Banks. Steve Martin, Martin Short, Kieran Culkin and George Newbern also starred in the franchise. (Annie married Newbern’s George Mackenzie in the first film and their characters welcomed a baby in the second, at the same time Nina was also pregnant.)

“I love this, Kim,” Newbern, 60, wrote in the comments section of Williams-Paisley’s Friday upload. “I have been thinking about Diane so much lately 💔💔.”

In the months after Keaton’s death, Williams-Paisley and Newborn have both been candid about honoring her legacy after working together on the Father of the Bride flicks. (The entire cast also reunited for “Part III” on YouTube amid the coronavirus pandemic lockdown in 2020.)

“I remember I had a lot of anxiety during those two movies. I mean, I was 19 on the first one. It was the first major role I had, and Diane was like a mother figure to me who was very safe,” Williams-Paisley recalled of production during a 2025 appearance on the “Call It What It Is” podcast. “I talked to her about my anxiety. I had a lot of dreams,” she continued. “I’m a big dreamer, literally a big dreamer, but I would have, like, weird nightmares and weird [things].”

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Related: Kimberly Williams-Paisley Says Late Diane Keaton Was a ‘Mother Figure’

Kimberly Williams-Paisley remembers late Father of the Bride costar Diane Keaton’s motherly advice when they worked together on the 1991 film and the 1995 sequel. “I remember I had a lot of anxiety during those two movies,” Williams-Paisley, 54, said during the Friday, October 24, episode of iHeart’s “Call It What It Is” podcast. “I […]

She continued at the time, “I think it was, like, me working out my anxiety in the middle of the night, and she would analyze dreams with me.”

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According to Williams-Paisley, Keaton “didn’t have easy answers” to her questions but was always supportive.

“She was just so generous and so funny and wise, just wonderful, and especially on the second film, I felt like we really bonded and, you know, just laughed,” Williams-Paisley recalled. “Like, the humor clicked, and it was so fun to be on set when she was on set.”

Keaton’s cause of death was ultimately revealed as primary bacterial pneumonia with no further underlying causes. She is survived by her two children.

The gap between what critics wanted from The Hawk and what viewers actually did with it has become one of the more interesting streaming stories of the summer. Netflix dropped all ten half-hour episodes of Will Ferrell’s first television comedy on July 16, and within days the show had planted itself at the top of the streamer’s US Top 10 chart.

In its first week, The Hawk logged 4.8 million views and 24.7 million viewing hours worldwide, according to Netflix’s Top 10 reporting, enough to make it the third most-watched English-language series on the platform for the week. It also grabbed the No. 1 spot in Australia, Canada, and Iceland, and landed at No. 2 in the UK, New Zealand, and Ireland. To date, it’s earned 1.5B minutes watched. For a show about a washed-up pro golfer in very loud plaid pants, that feels like a hole in one.

What Critics are Saying About ‘The Hawk’

Of course, critics have not been as enthusiastic. The show holds a pretty dismal score on Rotten Tomatoes against a considerably warmer audience rating, and the pans have been unusually pointed for a Ferrell project. The Hollywood Reporter called The Hawk “the most shapeless and least comedically focused” sports project of Ferrell’s career and described the series as “flat and disposable.” Variety went with “lackluster.” RogerEbert.com pointed to a tone that swings between slapstick, crude wordplay, and half-hearted emotional beats without ever settling on any of them. The recurring line in most negative reviews is that Lonnie Hawkins reads like a Ricky Bobby refit and that the show is coasting on Ferrell’s commitment instead of writing him anything sharp to do.

Not everyone agreed. NPR, in one of the show’s warmer reviews, praised its “satisfying silliness, amusing shenanigans and surprise cameos.” The Los Angeles Times wrote fondly about its affectionate handling of the sport itself. And at Collider, we scored it a 6/10. The Hawk is chasing a harder joke than Talladega Nights ever told, because Lonnie is not an earnest idiot in the Ricky Bobby mold. He’s an idiot who knows exactly what his obsession has cost him and keeps making the same call anyway.

Why ‘The Hawk’ Is Working for Netflix Audiences

Image via Netflix

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The reason viewers seem to be responding to the show, based on the sustained chart run, is that Ferrell, in full meltdown mode, remains a pretty bankable pleasure. Lonnie cooing at a golf ball, brawling with a bunker, sipping suspicious sports-bottle contents, plowing his tour bus through the green: this is what Ferrell has always been good at. His refusing to protect his own dignity is still, in 2026, a watchable bit.

The cast around him is doing serious lifting too, and that’s probably a bigger part of the audience response than the reviews have given it credit for. Molly Shannon plays Lonnie’s estranged wife Stacy as a woman happy to turn every waking moment into a sales opportunity. She is genuinely great opposite Ferrell, especially when their chemistry turns from bitter loathing to something a bit hornier. Jimmy Tatro, as Lonnie’s cold-plunging wellness-appropriating son Lance, is the generational foil the show needs, and the father-son contempt running between them is the sharpest storytelling device the show sometimes makes use of. Fortune Feimster, as the DIY-mechanic caddie Lonnie hires out of a Walmart parking lot, gives the series the closest thing it has to a heart. And Luke Wilson turns up as Lonnie’s smug rival, Golden Fisk, while Chris Parnell floats through as an envious tour board member to round out a bench that shares the comedic wealth.

The finale is also a lot of fun, and one that will keep viewers arguing well past the credits. Without giving too much away, it all comes down to a single putt, a father-son standoff, a pickle jar, and one very pointed question Lonnie flat-out refuses to answer. None of this is prestige television, and it is not pretending to be. The Hawk is a well-cast, casually filthy, extremely watchable Netflix comedy that lets Will Ferrell do the thing Will Ferrell has been doing well for 25 years. Netflix has not confirmed a second season yet, but the numbers say the audience already voted. Another season of Ferrell losing his mind on a manicured green would suit all of us just fine.

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The Hawk

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Release Date

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2026 – 2026-00-00

Network

Netflix

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Directors

Jonathan Watson

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Writers

Madeline Walter, Paul Welsh, Jerry Collins, Emma Rathbone, Cameron Squires, Harper Steele, Chris Henchy

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Fantasy is, at its core, about imagination. The same can be said of every fictional genre, but traditional swords-and-horses-and-magic fantasy lends itself especially well to big concepts, extreme spectacle, and massive heart. That unlimited scale drives many of the time-honored tropes audiences seek out: arduous quests, enchanted objects, epic battles against insurmountable foes, and unlikely underdogs saving the world through the power of friendship.

Although Prime Video’s The Legend of Vox Machina has blossomed into a runaway sleeper hit, the adult animated series hasn’t yet reached the same levels of cultural awareness as heavyweight shows like HBO’s Game of Thrones, or Prime Video’s own The Lord of the Rings: The Rings of Power and The Wheel of Time. With all due respect to those titles, The Legend of Vox Machina either matches or eclipses its multimillion-dollar live-action peers in every respect — especially when it comes to the playground of big concepts, extreme spectacle, and massive heart. Vox Machina offers comforting fantasy conventions up on a meticulously crafted silver platter by way of a creative team always determined to raise the bar on their existing accomplishments. The results are tremendous: a galvanizing love letter to fantasy’s imagination, an astounding triumph within the Western animation canon, and arguably the premier genre series of the decade.

‘The Legend of Vox Machina’ Understands What Makes a Perfect Fantasy Epic

Although The Legend of Vox Machina was designed to be broadly accessible, its unconventional origins inform its excellence. The misfit adventurers who christen their seven-person group as Vox Machina began with Critical Role, the multimedia company framed around eight voice actors’ shared enthusiasm for Dungeons & Dragons. When Critical Role decided to bring their livestreamed D&D campaign to animated life, Prime Video came knocking to the tune of four 12-episode seasons (with the fifth and final installment already commissioned).

Since it’s made by a team of self-proclaimed nerds who admire the same genre tropes and gaming mechanisms as their intended audience, Vox Machina knows it’s standing on the shoulders of giants. It zigzags around certain inspirations with a sly wink and fully embraces others with warmth and whimsy, fleshing out a foundational premise through luminous characters, a vibrantly textured world, adrenaline-surging combat, tonal harmony, and dynamic narrative architecture. Viewers across all genres are familiar with a bunch of lovably lethal mercenaries — quick-witted, foul-mouthed, prone to excessive mayhem — who accidentally become their realm’s go-to protectors and discover the messy found-family dynamic that becomes their shared saving grace.

This particular variation strikes every right chord precisely because of the production’s earnest commitment to mastering the storytelling craft. Whether the series has harmlessly riotous fun at the characters’ expense or torments them (as one does), Vox Machina isn’t trying to break the expectations associated with fantasy narrative structure. It infuses its spin on the beloved format with earned dramatic weight. Sometimes, that means turning an unwinnable fight into an exultant victory. When legitimate subversions arrive, they’re character-driven enrichments reckoning with the permanence of the compellingly intricate fallout, not contrivance-based shock value.

‘The Legend of Vox Machina’s Characters Are Its Crowning Glory

As the existing seasons gradually play out upon a battlefield of sublime havoc, rollicking vulgarity, and sobering maturity, Vox Machina‘s escalating plot momentum never sacrifices its narrative North Star: the titular ensemble’s electrifying chemistry as they clash with, complement, and strengthen one another into a unit capable of carrying their own vulnerable souls, the weight of their entire world, and each other. Tragedy and trauma are as much the party’s calling card as their bombastic charisma, and they’re plagued by a rogues’ gallery of conflict: exhaustion, disillusionment, past sins, a festering crisis of purpose, the trappings of divine mandates, and the mistakes they make out of desperate, grief-stricken, overwhelming love. When nefarious villains wreak their global catastrophe and internal carnage, those intimate beats find catharsis.

Yet even once healed, the emotional effects linger. Season 4, especially, paints a startlingly authentic and harrowing tableau about the complex, manifold, beautiful humanity buried underneath each member’s celebrity status. Of course, their not-so-secret hearts-of-gold deeply care about doing the right thing. Such a concept is easier said than done when the definitions, responsibilities, and costs aren’t clear-cut. And for all that friendship (and a healthy dash of spite) will indeed subdue tyrannical dragons and necromantic cults, Vox Machina can also do everything within their power and still lose. The notes never ring false because Vox Machina wears its blood-soaked heart on its sleeve, and has the skill to back it up.

The passion The Legend of Vox Machina‘s creatives hold for every background detail of their world blazes through the screen with undeniable clarity. Combine their painstakingly tender care with their increasingly ambitious scope, Titmouse, Inc.’s awe-inspiring animation, and the cast’s staggering performances, and you have one of the most remarkably consistent and fulfilling shows across any genre. The half-hour episodes will fly by in one weekend. You’ll laugh until you cry, cry until you’re riddled with a headache, and find your heart stolen by a bunch of half-broken outcasts as they stumble through their bittersweet lives, just striving to do their best. And isn’t that combination of mind-melting wonder and resonant humanity what all the greatest fantasy sagas are about?

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The Legend of Vox Machina

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Release Date

January 27, 2022

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Network

Prime Video

Showrunner

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Brandon Auman

Directors

Young Heller, Eugene Lee, Alicia Chan

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Former president Joe Biden’s son Hunter Biden is offering an update on his father’s ongoing cancer battle.

“It’s really tough, and that’s the real answer,” Hunter, 56, told the BBC in a Friday, August 7, interview when asked about Joe’s health. “My dad, to this day, remains the center of our family not just because of who he is as a public person but completely because of who he is to each one of us. It’s really, really hard and it’s really sad to watch.”

Joe, 83, shared sons Beau and Hunter, as well as daughter Naomi, with late first wife Nealia Biden. Nealia and Naomi were killed in a 1972 car accident, while Beau died in 2015 after battling glioblastoma. The politician also shares daughter Ashley, 45, with wife Dr. Jill Biden.

Joe was diagnosed with an aggressive form of prostate cancer in May 2025, with his office noting in a statement that the tumor had spread to the bones.

Related: Former President Joe Biden’s Cancer Battle: A Complete Timeline

Former President Joe Biden has begun his battle with what his office called an “aggressive” form of prostate cancer. “Last week, President Joe Biden was seen for a new finding of a prostate nodule after experiencing increasing urinary symptoms,” a statement sent from Biden’s personal office to CNN in May 2025, read. “On Friday, he […]

“The cancer has spread [and] metastasized into his bones and further. It’s very painful,” Hunter added on Friday. “It’s very debilitating in many respects, but he’s still out there. He’s still doing this thing [because] he still believes in this country.”

Hunter’s stepmother, 75-year-old Jill, revealed two months earlier how Joe’s cancer battle had affected his daily work commitments.

“He’s doing OK. He does have stage IV cancer. It has metastasized to his bones. He will forever have cancer. He will forever be on medicine, and he’s 83,” Jill said on a June appearance on Jay Shetty’s “On Purpose” podcast. “You put that mix in, so, [while] yes, he’s still working, he’s writing his book, he’s traveling, he’s speaking, but he’s a little more tired. I’ve seen him slow down. I mean, cancer really takes a toll.”

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Related: Joe Biden’s Family Tragedies, Health Struggles Through the Years

Former President Joe Biden and his family have endured several tragedies over the years. Biden married his first wife, Neilia Hunter, in 1966. The couple shared two sons, Joseph “Beau” Biden III and Hunter Biden, and a daughter, Naomi “Amy” Biden. Weeks after Joe was elected to the Senate in 1972, Neilia and their three […]

The former first lady continued, “I think every family in America has someone in their family with cancer, whatever form it takes. It’s really been, like, kind of a cruel blow. … [Joe is] strong, he’s resilient, and it’s just so unfortunate.”

According to Jill, her entire family is “trying to do their part in helping” with Joe’s care.

“Naomi, our oldest grandchild, said, ‘Nana, I want to come [visit] and bring my son, Willie, and stay with you for a month and help you out.’ I mean, it’s just been a really nice thing,” Jill added at the time, referring to Hunter’s daughter and her toddler son with husband Peter Neal.