The ABC police procedural, The Rookie, is one of the most beloved shows on television at the moment. In recent times, the crime drama scored a major streaming win, as the show has amassed 12.817 billion minutes viewed between January and June 2026, according to Nielsen’s streaming data. Following on from one of ABC’s biggest finales with The Rookie Season 8, the series secured an early Season 9 renewal in April as we look forward to its return later next year. With well over 140 episodes of the show available, The Rookie has demonstrated incredible staying power even as the show looks towards further expansion.

The Rookie: North will serve as the second spin-off of the franchise, looking to succeed where its predecessor, the first short-lived offshoot back in 2022, The Rookie: Feds, which was cancelled after only one season, didn’t. Feds followed Special Agent Simone Clarke (Niecy Nash), the oldest rookie in the FBI Academy, but unlike the original series, the offshoot failed to impress. Last year, ABC decided to try again, officially handing out a pilot order for a new spin-off, with extensive work ongoing behind the scenes since then. The Rookie: North will follow a middle-aged man who joins the Pierce County Police Department as its oldest rookie after a traumatic home invasion. Insecure and Top Gun: Maverick star Jay Ellis was, in November 2025, announced to have been cast in the series’ lead role as prospective rookie cop Alex Holland.

Since then, the series has worked to fill out its call sheet, adding Stranger Things favorite and This is Us alum Chris Sullivan to the cast as well. Froy Gutierrez (I Love LA), Janet Montgomery (New Amsterdam), Karen Fukuhara (The Boys), Mya Lowe (My Life with the Walter Boys), and Malik Watson were brought onboard in April 2026. Now, the show, which is set to premiere in 2027, has gone to bolster its ranks once more. According to Deadline, The Night Agent‘s Curtis Lum has been added to the cast in a recurring role. Lum is set to recur as Officer Charley Furst, a cheerful and relaxed officer who has a reputation for always finding the path of least resistance when it comes to the job.

Who Is Behind ABC’s ‘The Rookie: North’?

The Rookie creator, Alexi Hawley, returns to write and direct the series, which has Mark Gordon, Bill Norcross, and Michelle Chapman also executive producing. While still leading the original series as John Nolan, Nathan Fillion will also serve as executive producer on the new series, with series star Ellis serving as producer. Hopes are high for The Rookie: North, and while speaking with Collider’s Steven Weintraub at San Diego Comic-Con, series creator Hawley heightened it, teasing that a crossover with the upcoming spin-off is already being discussed, which would mark the franchise’s first crossover since The Rookie: Feds.

“There might be one in the works, for sure. We started shooting Season 9 on Tuesday, this last week. We start shooting North in a few weeks, early August, so we’re already into scripts on everything, obviously. There are some thoughts being put to who might go north or come south or both.”

The Rookie streams on Hulu. Stay tuned to Collider for future updates.

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Release Date

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October 16, 2018

Showrunner

Alexi Hawley

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Directors

Tori Garrett, Chi-Yoon Chung, Michael Goi, Sylvain White, Lisa Demaine, Lanre Olabisi, Bill Johnson, David McWhirter, Liz Friedlander, Daniel Willis, Toa Fraser, Anne Renton, Jon Huertas, Cherie Nowlan, TK Shom, Rob Seidenglanz, Valerie Weiss, Barbara Brown, Charissa Sanjarernsuithikul, SJ Main Muñoz, Nelson McCormick, Marcus Stokes, Adam Davidson, Anna Mastro

Writers

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Corey Miller, Bill Rinier, Zoe Cheng, Mary Trahan, Ally Seibert, Liz Alper, Nick Hurwitz, Racheal Seymour, Madeleine Coghlan, David Radcliff

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Despite being a celebrated comedian and popular character actor for almost the entirety of his career, Bob Odenkirk somehow transformed into an action star in the 2020s. It started with Nobody, a 2020 film written by John Wick creator Derek Kolstad, where he starred as a former assassin who becomes a family man. It was an interesting gimmick to see someone like Odenkirk, who wasn’t typically associated with the genre, star in a fast-paced, violent revenge thriller with some dark comedy sprinkled in, but his performance was so good that it became more than just a one-off. While Nobody did get a sequel, Normal was a different type of action vehicle for Odenkirk that satirizes small town communities in the style of Fargo.

Odenkirk stars as Ulysses, the new Sheriff of the town of Normal, Minnesota, which appears at first to be a run-of-the-mill small community where not much happens. Although Ulysses finds it strange how unwilling Mayor Kibner (Henry Winkler) is to give out any sort of specific details about the town, his suspicions are heightened when a botched robbery at a local bank turns into a coverup. Normal is the perfect “one-man army” thriller about a lone lawman doing his best to face off with a corrupt institution, and director Ben Wheatley’s background in horror ensures that it’s pulpy and gory enough to stand out amongst other John Wick imitators.

‘Normal’ Is an All-Out Action Bonanza

Normal works because it creates an underdog story that is not entirely implausible; it is explained that Ulysses is a veteran law enforcement officer who has become insular and lonely, which is why he is assigned to a post in the middle of nowhere. He’s seemingly someone that the residents of Normal don’t have to worry about because of how ineffective he is, but Ulysses immediately starts causing problems when he tries to show enthusiasm about his position and actually do his job. It’s an effective piece of commentary on how small communities can become closed-off to insiders, presenting hostility to anyone who tries to enter it.

Since Ulysses isn’t aware of the secret history of Normal, he is caught off-guard when a small crime becomes part of a massive conspiracy that involves international syndicates and smuggling operations. It’s again a scenario that makes some sense; since Normal is the last place that anyone would expect to be the centerpiece to be a criminal treasure trove, it has managed to avoid being snuffed out by authorities and rival gangs for generations.

Normal is another smart screenplay from Kolstad because it is well-paced and offers just the right amount of information to get the viewer intrigued about the broader world that it is set within. In John Wick, there are details about the Continental that hint at the underworld of assassins that operate behind closed doors, and Nobody is able to offer similarly intriguing clues about the protagonist’s backstory and how he came to be a covert, highly-trained killer. In Normal, the idiosyncrasies within the town all point to a secret that connects all the residents, which puts Ulysses at an even greater disadvantage when they determine that he knows too much to stay alive. It’s a perfect film of escalation, as the action gradually gets more extreme as more citizens are drawn into the bloodshed and the conspirators begin to suspect that their closely-guarded stashhouse is at risk of being discovered by the most unlikely of investigators.

‘Normal’ Has a Dark and Quirky Sense of Humor

Normal has a compelling hook because Ulysses is brought in as a replacement for a previous Sheriff who was killed after he learned too much, which makes his mission to take down the town official feel more like a quest of vengeance. While eliminating the criminals is just an abstract concept that is not necessarily emotionally affecting, it’s set up that by exposing this secret, Ulysses will stop other sheriffs from being sucked into the conspiracy, allowing anyone else trapped in the town to leave. There’s also an emotional component to the story involving the character of Alex Gunderson (Jess McLeod), the daughter of the previous sheriff, who teams up with Ulysses to get vengeance. Although it would have been very easy for this to feel like a cheesy and unnecessary subplot, Odenkirk is such an inherently likable actor that he’s able to make the surrogate paternal relationship feel completely sincere and much more emotional than it had any right to be.

Normal is proof that there’s room for creative action films done on a small scale, as it benefits from being shot with practical stunts on real locations with authentic makeup and gore effects, which are surely a result of Wheatley’s directorial touch. Given how many post-John Wick action films feel like complete copycats of the original 2014 masterpiece, it’s nice to see something like Normal that draws from a wider variety of influences, as there are a lot of similarities between Ulysses and Odenkirk’s character from the first season of FX’s Fargo. While no one would have expected that Odenkirk would become an action star after a near-fatal heart attack and an acclaimed run on one of the most beloved drama shows of the 21st century, it is an exciting new chapter that Normal helps solidify as being far more than just a one-off experiment.

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Normal

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April 16, 2026

Runtime

91 minutes

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Bloated days have a funny way of making even your most reliable work tops feel like the enemy. But Elisabeth Moss just made a strong case for swapping anything clingy or restrictive for a loose, silky button-down that still looks completely polished — and we found a similar style on Amazon for just $24.

Moss was spotted in New York City on August 17, 2026, wearing a light blue satin button-down with matching trousers, white sneakers and a roomy black tote. The fluid shirt skimmed over her frame rather than hugging it, while the monochromatic blue pairing made the entire outfit feel elevated and office-ready.

Get the Damipow Long Sleeve Satin Button Down Shirt for just $24 (Was $32) at Amazon! Please note, prices are accurate at the date of publication, August 20, 2026, but are subject to change.

While we couldn’t track down Moss’ exact shirt, the Damipow Satin Button-Down Shirt on Amazon delivers a remarkably similar look for $24. The soft blue shade channels her outfit, but it also comes in black, champagne, burgundy and plenty of other versatile colors.

Related: Isla Fisher’s Romantic Floral Dress Is an End-of-Summer Dream

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Consider this your sign to squeeze a few more romantic dresses into your wardrobe before summer slips away. Isla Fisher made the case for a dreamy floral maxi that works for everything from date nights to late-summer weddings, and we found a similar style on Amazon for $64. Fisher was spotted in New York City […]

Made from wrinkle-free satin with fine stitching, the blouse has a loose, flowy fit that leaves plenty of breathing room around the midsection. It comes in sizes S through 3X and can easily be tucked into tailored trousers.

More than 700 shoppers have given the shirt a five-star rating, with one buyer calling it “really flattering” thanks to “just that perfect drape” that “lays nicely on the body.” Another customer said it’s “easy to dress up or down” and “works for both the office and more casual outings.”

Consider Moss’ outfit permission to retire the tight work tops on days when bloating strikes. For $24, this loose satin blouse delivers the polished look of office wear with a forgiving, easy fit you’ll actually want to sit in for eight hours.

Shop more blue satin button-downs that we love:

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Related: Vanessa Hudgens’ Sparkly Date Night Bag Has a $24 Lookalike

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Vanessa Hudgens found an accessory that can make even the simplest fall date night outfit feel instantly more glamorous. A sparkly silver bag adds just enough shimmer to jeans and a cute top, a little black dress or even a cozy sweater-and-skirt combo. And while her version looks seriously luxe, you can recreate the vibe […]

Shia LaBeouf has made a surprising admission about his relationship with alcohol months after insisting that drinking was not the real problem behind his latest legal troubles.

The “Transformers” star reportedly told authorities that he currently drinks alcohol every day while serving probation stemming from his chaotic New Orleans Mardi Gras bar brawl.

The revelation comes as LaBeouf continues completing court-ordered treatment and months after he questioned whether rehab could actually help him, creating a striking contrast with what he previously said about his struggles.

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LaBeouf’s latest update emerged as authorities reviewed his progress following his guilty plea in the criminal case stemming from his February arrest.

According to court documents obtained by TMZ, the 40-year-old has remained compliant with his probation requirements and continues checking in with his probation supervisor.

The actor has also provided documentation indicating that he is expected to complete anger management and substance abuse treatment by September.

However, another detail in the filing stood out. LaBeouf reportedly self-reported that he “drinks alcohol daily” and declined mental health treatment.

The admission comes while the actor remains under two years of probation following his guilty plea to three counts of simple battery stemming from the New Orleans incident.

LaBeouf is scheduled for another court hearing on September 23, although the documents reportedly state that he will not attend in person because he is working on a film.

The Actor Previously Denied Having A ‘Drinking Problem’

LaBeouf’s admission is particularly notable because of how differently he characterized his relationship with alcohol following his arrest.

Shortly after the February incident, the actor sat down with journalist Andrew Callaghan and pushed back against suggestions that drinking was at the root of his behavior.

As The Blast previously reported, LaBeouf questioned whether he needed rehab and suggested that his problems were more closely connected to his anger and ego.

The actor acknowledged that he had been drinking during the chaotic Mardi Gras period but resisted framing alcohol as the underlying issue.

Instead, he spoke about confronting his insecurities and aggressive tendencies, while expressing doubts that rehabilitation would address what he believed was actually driving his behavior.

Those comments now stand in sharp contrast to the latest court filing.

Shia LaBeouf’s Mardi Gras Bar Brawl Led To Two Years Of Probation

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The legal consequences LaBeouf is currently navigating stem from a turbulent Mardi Gras period in New Orleans.

As The Blast reported at the time, witnesses claimed the actor had been moving between bars before becoming involved in confrontations that ultimately brought police into the situation.

Video from one encounter showed a shirtless LaBeouf outside a bar during an altercation.

Police subsequently accused him of physically attacking multiple people, while reports from the incident also alleged that he repeatedly used homophobic slurs.

LaBeouf eventually pleaded guilty in June to three counts of simple battery.

He received a six-month suspended sentence and two years of probation, along with requirements that included substance abuse rehabilitation and anger management. He was also ordered to stay away from the victims and the establishment connected to the incident.

His attorney previously said LaBeouf wanted to accept responsibility for his role in what happened while characterizing the confrontation as a “minor Mardi Gras bar tussle.”

LaBeouf Was Seen Drinking Shortly After His Arrest

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LaBeouf’s relationship with alcohol had already drawn attention almost immediately after the February arrest.

The Blast reported that the actor was photographed drinking beer only hours after being released from jail.

The images showed LaBeouf returning to the Mardi Gras celebrations after spending the night behind bars.

His decision to drink so soon after the arrest raised questions at the time about whether the incident would cause him to reconsider his relationship with alcohol.

The concerns were especially notable given LaBeouf’s previous public discussions about sobriety and addiction.

Years earlier, the actor had spoken about achieving more than 600 days of sobriety, making his return to drinking another dramatic turn in a recovery journey that has repeatedly played out in public.

Mia Goth Was Reportedly Concerned About Shia LaBeouf’s Drinking

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LaBeouf’s alcohol use also reportedly became a source of concern for people closest to him.

Following his New Orleans arrest, reports claimed his estranged wife, Mia Goth, had urged the actor to seek treatment.

According to previous reporting highlighted on The Blast, Goth was said to be deeply concerned about LaBeouf following the Mardi Gras chaos and reportedly wanted him to enter rehabilitation to address his drinking.

The former couple, who share daughter Isabel, had already separated before his latest legal troubles became public.

LaBeouf subsequently turned toward his Catholic faith amid the fallout, as he was spotted visiting churches around New Orleans shortly after his arrest.

However, his latest disclosure indicates that alcohol remains present in his life even as he works through the legal and treatment requirements imposed following the altercation.

Matt Damon lit up theater screens this summer with The Odyssey, Christopher Nolan’s spectacular retelling of the Greek epic poem that saw him fighting giants, facing off with witches, and taking part in vast battles. If you go back to the beginning of his career, however, the actor made his name on a much smaller canvas.

Now available to stream for free on Pluto, Rounders is a 1998 thriller set in the world of underground poker that is a million miles away from the Trojan War, but offers its own unique brand of excitement. Released just a year after Damon’s breakthrough with Good Will Hunting, co-stars Edward Norton and John Malkovich help portray a world where wits will always triumph over muscle.

‘Rounders’ Sees Matt Damon Play a Card Shark in Troubled Waters

Image via Miramax

‘Rounders’ refers to people who travel between cities looking for high-stakes poker games, and focuses on one “rounder,” Mike McDermott (Damon). He’s a young New York City law student whose aptitude with his studies is outmatched only by his talent for playing poker. Chasing higher winnings at each table, his confidence is rocked when he loses his entire bankroll to Teddy “KGB” (Malkovich), which prompts him to promise to his girlfriend (Gretchen Mol) that he will give up gambling and focus on his degree. However, when his childhood friend Worm (Norton) is released from prison and runs into some serious debts, Mike must go back to the table to save both of them, a path that leads him back to his old nemesis.

A moderate box office hit at the time, the film’s reputation took off in the early 2000s thanks to the rise in popularity of poker and interest in the game’s strategies. There have been many stories based around the gaming table since then, but few capture the unfiltered thrill of those who need to know when to hold ‘em or fold ‘em.

Matt Damon’s Taut Thriller Shows You Don’t Need Effects to Be Gripping

Custom Image by Zanda Rice 

For a generation, cinema audiences have been used to conflict coming from alien invasions, Earth-ending weapons, or zombie apocalypses. Rounders echoes a time when the entire fate of the story relied instead on the protagonist’s next decision. The psychological stakes are what makes the film so compelling, as we see whether Mike can stay away from the thrill of the chase, avoid retribution from criminals, and save his relationship. They’re small, individual stakes in the grand scheme of things, but handled with deft storytelling by director John Dahl, who takes the skeleton of a sports movie and applies it to the world of gambling. We are following a personal journey of skill and redemption, with opponents who make the sedentary nature of the game more exciting.

This is coupled with performances that make those face-offs matter. Damon and Norton are volatile but bonded friends who are polar opposites but somehow inseparable. Mike is a decent man with a talent and competitive edge that pulls him into trouble. Worm is, in essence, the personification of those demons – charming, manipulative, and uncontrollable, he represents all the shadows Mike is trying to evade. It is a movie about psychology, weakness, and personalities. One of those personalities, however, stands out from the rest…

John Malkovich’s Performance is Like Nothing Else You’ve Seen Before.

Amid the double bluffs and all-in calls is the film’s secret weapon – antagonist Teddy “KGB,” played unforgettably by John Malkovich. Sporting a red sports jacket over a garish button-down shirt, there is not a drop of subtlety in the performance. His Russian accent is a continuing point of discussion, with exaggerated pronunciation and erratic volume (he would later describe it in an interview with GQ as “a decision to, as they say, ‘go big or go home’”). In a film where keeping your cool is a tool of the trade, he lashes out in fits of temper, goads his opponents, and makes himself as big as possible.

He is the antithesis of what you would expect from a movie set at a poker table, and yet that is precisely what makes his performance work. He exists as a supervillain in Mike’s world, grandstanding to the point where finding a “tell” would be pointless, because every emotion is so close to the surface. He is the perfect foil for our calculated hero, providing most of the movie’s landmark moments in a role that stands as an outlier in his career of quiet, intense characters.

Rounders may never have the broad popularity of Bourne, Oceans 11, or Damon’s latest hit, The Odyssey. However, it is a wildly entertaining early role in his career which finds him somewhere in between his dramatic and action-based roles. For devotees of the actor’s on-screen charisma and quiet presence, it’s a movie you’ll definitely want to gamble on.

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Release Date

September 11, 1998

Runtime

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121 minutes

Director

John Dahl

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Taylor Sheridan is responsible for many of the most talked-about shows from the last several years. This includes “Yellowstone,” “Land Man,” and more recently, “Marshalls” and “Dutton Ranch,” both of which are soon returning for their respective second seasons. However, the TV mastermind recently opened up about his life before fame, revealing he was homeless for a time.

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Sheridan was interviewed by Town & Country in August 2026, discussing everything from his work as a television producer to his time as an actor, appearing on shows like “Sons of Anarchy.” During the interview, he became vulnerable and stated that he was homeless at times before breaking into the industry.

According to him, “I was homeless twice. I lived in my car.” The “Yellowstone” creator then shared that Ojai, California, was a popular location for him as it was “somewhere where I could safely sleep.” He continued, “I did that for six months. I could have decided at any point, ‘I’m going to go get a full-time job, and I’m going to give up this dream.’ And I chose to sleep in my car over that.” 

Taylor Also Opened Up About Later Buying Land

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Sheridan didn’t go into detail about which point in his career included the two-month experience with homelessness. However, it should be noted that he began his career in the mid-1990s, landing his first credited role on “Walker, Texas Ranger.”

After that, he did a series of guest TV appearances in shows like “Dr. Quinn, Medicine Woman,” “Party of Five,” and “NYPD Blue.” Later, he landed his first recurring role in “Veronica Mars.” He then turned to writing around 2010.

During his Town & Country interview, Sheridan discussed buying land after the success of 2012’s “Hell or High Water.” He said, “When I sold that first screenplay, I bought a little house on an acre on a river in Wyoming.”

Taylor Sheridan Is Now Among The Biggest Landowners In Texas

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Years after his time using his vehicle for shelter and then buying land in Wyoming, Sheridan, via his investment group, finalized the purchase of the historic 6666 Ranch in January 2022. This came after a deal was initially reached in May 2021. According to The Land Report, the property consists of 267,000 acres, making him among the top 50 landowners in Texas.

Notably, CBS Viacom, now Paramount, announced plans in 2021 for a “Yellowstone” spin-off series set at the 6666 Ranch. However, in 2026, during a “Rodeo Time” podcast episode, Sheridan stated that there wouldn’t be a spin-off set at the ranch, despite the studio’s previous investor call announcement.

He said, “There’s never going to be one. I would never fictionalize that ranch. People thought that that was going to be a thing, but I would never do that.”

Regarding why fans won’t see the spin-off series, Sheridan explained, “So now I’m trivializing and fictionalizing something where real people work, and they raise their families there, and I could never do that to them.”

He continued, “I could never do that to the cowboys that dedicated themselves, and everybody that works on that ranch. I’m very protective of the Sixes, and it’s a big responsibility to be the person who has to protect that ranch, so I have to be very, very careful with it.”

The ‘Yellowstone’ Legacy Continues

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“Yellowstone” ended in 2024, and two years later, in 2026, two new spin-offs of the beloved series premiered. The first, “Marshalls,” premiered on CBS in March. According to Deadline, the series premiere garnered 9.52 million viewers, marking the network’s first non-NFL broadcast since “FBI” in 2018.

Then, in May 2026, Paramount+ premiered “Dutton Ranch.” According to Deadline, the series was watched by 12.9 million people across its first seven days on the platform, becoming Paramount+’s biggest original series.

Taylor Sheridan Is Leaving Paramount

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Most of Sheridan’s creative output has come from his partnership with Paramount. However, in October 2025, Puck News announced that he had signed a deal to leave Paramount for NBCUniversal. Per reporting from The Wrap, the film portion of his contract begins in 2026.

However, he remains under contract with Paramount until 2028 for television projects. The rest of his NBCUniversal contract will go into effect on January 1, 2029.

Neo-noirs have had an interesting journey over the decades, continuing the traditions of the classic noirs, sometimes adding unique aesthetics or contemporary elements, or acting as full homages. They began in earnest in the ’60s, with films that could take advantage of the dying production code with more explicit violence or sexuality, like Point Blank. The ’70s had several quintessential neo-noirs that ranged from contemporary subversions of the form, like The Long Goodbye or Taxi Driver, to full period pieces, like Chinatown. The ’80s brought neon aesthetics into the mix through traditional narratives, like Blood Simple, and others, like science fiction.

The biggest boom neo-noir ever had would come in the ’90s, when both new indie and established studio filmmakers would venture into it. Lists of ’90s neo-noirs can fluctuate in length depending on how generous, or stingy, we are with the criteria. It is nothing if not a messy genre, and while there are some films that have been definitively categorized as such, there are many more that inspire debate. If there’s enough in a film to be considered heavily influenced by noir, then it’s good enough to qualify here. It’s hard to limit the greatest of the ’90s neo-noirs to a list of only ten movies, especially when certain filmmakers contributed more than one classic, but these ten are hard to deny.

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‘Bound’ (1996)

Image via Gramercy Pictures

Of the many directors who debuted in the ’90s with a neo-noir, the one that stood out due to its sexuality and LGBTQ themes was The Wachowskis‘ Bound. With two female protagonists who engage in a sexual relationship, the film not only featured elements of sexuality that classic noirs could only ambiguously suggest, but showcased them in a far more nuanced context than the way queer-coding was often used as shorthand for depravity. The explicitness of the sex scenes almost earned it a ridiculous NC-17 rating before the Wachowskis made a few cuts, showing just how close-minded the ratings board still was.

Violet (Jennifer Tilly) is dating Caesar (Joe Pantoliano), who launders money for the mob, and Corky (Gina Gershon) is an ex-convict who works in the apartment next door. Corky and Violet begin a relationship and soon plot to steal some mob money and let Caesar take the fall. The best-laid plan, of course, takes some nasty twists and turns as is expected in any proper neo-noir, and there’s plenty of style in the film. The cinematography by Bill Pope, who would later shoot The Matrix films, gives it real production value on its tight budget with fluid camera moves and stark lighting. Thanks to the later successes of the directors, in addition to the added context their gender transitions gave to the film’s already growing status in the LGBTQ film community, Bound has earned a proper following as a unique neo-noir.

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‘Lost Highway’ (1997)

Image via October Films

Long considered one of David Lynch‘s lesser efforts, Lost Highway has undergone a reappraisal by both fans and critics. Its surreal style made it a hard sell even for some die-hard Lynch fans, similar to films of the director’s that were equally divisive, like Twin Peaks: Fire Walk With Me. After the success of Mulholland Drive, Lost Highway began to attract more attention, with many praising its mix of noir and horror elements. Even if its narrative doesn’t follow a straight line and operates better in terms of tone and vibe, Lost Highway features some of the most incredible imagery in Lynch’s filmography, rewarding repeat viewings.

The film centers on a man named Fred (Bill Pullman) who begins to receive cryptic, vaguely threatening VHS tapes before experiencing bizarre events and later transforming into a different protagonist named Pete (Balthazar Getty). There’s a lot to try and unpack in Lynch’s film, which he has left up to interpretation, the same as most of his work. Everyone is bound to come up with unique answers to the film’s plot and meaning. Even if some people don’t respond to Lost Highway with any real interest, it’s still a distinct neo-noir horror film worth experiencing at least once.

8

‘Hard Eight’ (1996)

Image via The Samuel Goldwyn Company

Paul Thomas Anderson‘s Hard Eight isn’t nearly as complex as some of his later films but is just as engaging. It’s a small-stakes crime film about small-time criminals and gamblers that makes the most of its Nevada locations and a rare leading role for Philip Baker Hall. The film was an expansion of Anderson’s short film Cigarettes & Coffee, which also featured Hall as the character Sydney. Anderson’s film is a tribute to the kinds of characters that often appeared on the fringes of cinematic crime stories, and it gives the spotlight to an actor who often occupied supporting roles.

Sydney (Hall) is a gambler who takes a downtrodden man named John (John C. Reilly) under his wing and forms a fatherly bond with him. After John falls in love with cocktail waitress Clementine (Gwyneth Paltrow), they find themselves in trouble and Sydney’s attempts to help them leave him exposed to the dangerous Jimmy (Samuel L. Jackson). Hard Eight may appear minor compared to Anderson’s most acclaimed films, but it’s an impressive and assured debut and addition to the dusty pantheon of desert noirs.

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‘Fallen Angels’ (1995)

Image via Jet Tone Productions

As a companion piece to Chungking Express, Wong Kar-wai‘s Fallen Angels trades the bright, energetic pop visuals of that film for a darker, moodier aesthetic befitting a neo-noir. The film, originally intended to be the third story featured in Chungking Express, was expanded into its own loose narrative while still featuring the same themes of loneliness, love and alienation, explored through two intersecting narratives of a lovesick hitman and a mute ex-convict. With a distinct, distorted style thanks to cinematographer Christopher Doyle‘s use of extreme wide-angle lenses, the film is one of the most visually distinct of all ’90s neo-noirs, with an allure all its own.

Wong (Leon Lai) is a hitman looking to leave his life of killing behind. His Partner (Michele Reis) is growing increasingly infatuated with him. Blondie (Karen Mok) is the woman Wong forms a strange attachment with. Ho (Takeshi Kaneshiro) is an ex-con who runs a strange hustle, breaking into businesses at night and intimidating customers. Charlie (Charlie Yeung) is the lovesick woman he falls for. These characters don’t so much collide with one another as they drift in and out of each other’s lives. The dream, or better yet, nightmare-like quality of Fallen Angels and its indulgent visuals have made it a more difficult film for fans to enjoy, but it’s just as emotionally resonant in a very different, gloomier fashion.

6

‘The Last Seduction’ (1994)

Image via October Films

John Dahl was essential to the ’90s neo-noir boom. After his directorial debut Kill Me Again in 1989, he followed it up with the neo-Western neo-noir crime film Red Rock West, and then with his greatest film, The Last Seduction. It features an iconic turn by Linda Fiorentino, who was rudely denied an Oscar nomination due to an inane ineligibility rule regarding the film’s premiere on HBO before its theatrical release. Despite the snub, Fiorentino is still considered among the most quintessential femme fatales of any noir, and the film itself is an erotic neo-thriller worthy of her talents.

Bridget (Fiorentino) is a calculating telemarketing manager living in New York City with an abusive physician husband who’s just made six figures selling pharmaceutical cocaine to some drug dealers. Bridget steals the money and ends up in a small town upstate where she begins a relationship with Mike (Peter Berg) as a means to meet her own conniving end. The character is a villainess that the movie makes no apologies for. The Last Seduction was developed to be a lurid thriller meant for late-night viewing, and while it has all the requisite elements, it’s also elevated by the efforts of its cast and crew.

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‘Devil in a Blue Dress’ (1995)

Image via TriStar Pictures

Carl Franklin directed two of the best and most underrated neo-noirs of the ’90s. The first was the seedy, small-town thriller One False Move, which examined systemic racism through a modern context and juxtaposition of urban and rural attitudes. His second explored those themes even deeper with the ’40s-set Los Angeles noir Devil in a Blue Dress. Based on the novel of the same name by Walter Mosley, which introduced the hard-boiled detective character Easy Rawlins, it’s a crying shame that there were never any sequels adapted from the later novels. An equal shame is that Franklin has been absent from directing any feature films for over two decades as well.

Looking for work, Rawlins (Denzel Washington) takes a job to track down a missing white woman named Daphne (Jennifer Beals). What he finds is a tangled plot of political corruption, blackmail and racial prejudice. A major theme of both of Franklin’s ’90s neo-noirs is race and reckoning with its history in America and within the subgenre itself. While often left underexplored in the predominantly white classic noirs, race is an undercurrent in many ’90s neo-noirs, and more pronounced in others like Deep Cover. Franklin offers the most nuance to the theme in his two films, and Devil in a Blue Dress is his neo-noir masterpiece.

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‘The Grifters’ (1990)

Image via Miramax Films

Of all the ’90s neo-noirs, The Grifters may be the one that feels the closest in true spirit to the classic form of the genre. While its color visuals are bathed in the sunlight, its time period is a nebulous mix of classic and contemporary styles, and the script, adapted by crime writer Donald E. Westlake from Jim Thompson‘s pulp novel, is just as acidic as you’d expect it to be. Elmer Bernstein‘s fantastic score also evokes the classics. Produced by Martin Scorsese and directed by Stephen Frears, The Grifters is the best adaptation of a Thompson novel, capturing the author’s American-brand cynicism perfectly.

The film follows a trio of con artists: the seasoned professional Lilly (Anjelica Huston), her hustler son Roy (John Cusack), and his grifting girlfriend Myra (Annette Bening). The conflicts between the three drive the film from capers to killings, ending in a bloody climax befitting a noir. The three actors are all perfect in their roles, with both Bening and Huston receiving well-deserved Oscar nominations. The Grifters was one of the earliest neo-noirs of the ’90s, and it set the proper tone for others to follow.

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‘L.A. Confidential’ (1997)

Image via Warner Bros.

Based on a more contemporary crime novel by James Ellroy, the third in his famous L.A. Quartet, L.A. Confidential offers a streamlined, cut-down version of its source material’s plot, but is nonetheless a perfect piece of pulpy entertainment. Curtis Hanson, who had previously directed genre thrillers like The River Wild and The Hand That Rocks the Cradle, leveled up to blockbuster status with a script by fellow B-movie stalwart Brian Helgeland, and a tremendous cast of rising stars and veteran performers. A cop thriller where the cops are just as dirty, or often dirtier, than the criminals they arrest, L.A. Confidential was the quintessential studio neo-noir of the ’90s.

In the City of Angels, after a violent scandal and an even more violent massacre in a diner, detectives Ed Exley (Guy Pearce), Bud White (Russell Crowe) and Jack Vincennes (Kevin Spacey) find themselves drawn into an ever-expanding web of drugs, sex, corruption and murder. It’s a classic noir crime story, but infused with the rampant bigotry and misogyny of its 1950s setting. The novel was even more cutting, but even with some sanded edges, Hanson’s film version can still manage to draw blood. The actors are all exemplary, with Kim Basinger making a major comeback with her Oscar-winning performance that gives a modern interpretation of the classic femme fatale.

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‘Pulp Fiction’ (1994)

Image via Miramax Films

Pulp Fiction was a cultural phenomenon that inspired dozens of imitators that all fell under the label of Quentin Tarantino-esque. The director’s distinct style, bearing the plot hallmarks of classic noir but also inspired by ’70s exploitation and a host of other film movements, is a cinematic universe unto itself, where the characters are all as film-literate as the screenwriter behind their dialogue, and where genre elements collide in often non-linear fashion, moving beyond something of pure pastiche or homage. It’s so distinct that Pulp Fiction isn’t always considered a true neo-noir, but its influences, and its influence, are too pronounced to exclude it.

Following disparate stock characters filtered through the manic cinephile minds of Tarantino and co-writer Roger Avary, the film is a kaleidoscope of crime stories. Hitman Vincent (John Travolta) takes his gangster boss’ wife, Mia (Uma Thurman), out to dinner, while his boss Marsellus (Ving Rhames) gets more than he bargained for trying to take down boxer Butch (Bruce Willis). Also, Vincent and Jules (Samuel L. Jackson) have to deal with a headless dead body. The actors are all perfectly cast, and they recite the Oscar-winning screenplay’s quotable dialogue with plenty of wicked wit. Pulp Fiction is Tarantino’s defining film, and a hell of a neo-noir.

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‘Fargo’ (1996)

Image via Gramercy Pictures

The Coen Brothers‘ career is littered with neo-noirs, starting with their very first film, Blood Simple. The trend continued through the nineties, with masterpieces like the Dashiell Hammett homage Miller’s Crossing and the Raymond Chandler parody The Big Lebowski. The neo-noir without a clear literary progenitor, and which could be considered the most essential film of the directors’ filmography, is the chilly Midwest comic crime thriller Fargo. Just as Tarantino carved out his distinct slice of noir, the Coens also cut their cold-hearted subcategory where Midwestern nice meets hard-bitten criminals.

Jerry Lundegaard (William H. Macy) has a hair-brained scheme to pay two criminals to kidnap his wife and steal the ransom money from his father-in-law. Of course, things get complicated, and the bodies that pile up get the attention of police chief Marge Gunderson (Frances McDormand). Fargo is a neo-noir that delivers just as many awkward laughs as it does cold chills, vacillating between perfect moments of character-driven humor and shocking bits of bloody violence. From its snowy setting to its regional dialects, Fargo stands out among the best ’90s neo-noirs.

Apple TV has become the one-stop destination for some of the best science fiction content available on streaming. Over the years, the streamer has invested heavily in the genre, churning out hit after hit, with some of its productions even earning a reputation as modern sci-fi classics. While Apple TV has largely maintained an exclusive strategy, with its platform primarily serving as a home for original productions, it occasionally expands its library with titles from outside the Apple ecosystem. Unsurprisingly, its latest batch of additions leans heavily into science fiction, bringing several acclaimed classics to the streamer.

The streamer has added a new section to its catalog titled “Great Movies Available Now on Apple TV,” featuring a collection of beloved titles ranging from ’90s classics to more recent hits from as late as 2015. The collection currently includes 19 movies, all of which are available to subscribers at no additional cost. Whether this unusual move is part of a broader strategy to help Apple TV close the gap with its streaming competitors or simply another temporary expansion of its library remains to be seen. For now, however, the response appears to be positive, with several of the new additions already climbing the streamer’s charts.

Among the catalog’s sci-fi offerings is Ridley Scott‘s defining masterpiece, The Martian. An adaptation of Andy Weir‘s acclaimed 2011 novel, the 2015 film has aged like fine wine. Starring Matt Damon as an astronaut stranded on Mars and forced to fight for survival after his crew leaves him behind, The Martian has proved remarkably durable in the decades since its release. The movie regularly finds its way onto the charts whenever it lands on a new streaming service, so its inclusion in Apple’s latest rollout comes as little surprise. Sure enough, just days after arriving on Apple TV, The Martian has shot up the charts and currently sits at No. 6.

‘The Martian’ Is in Good Company on Apple TV

Apple TV audiences appear to be embracing the new rollout, with the streamer’s charts currently dominated by several of the recently added titles. Sitting at the highest position among the new arrivals is The Bourne Identity, another Matt Damon classic. The 2002 action thriller, directed by Doug Liman, was both a critical and commercial success and would go on to launch one of Hollywood’s most enduring action franchises. Fans of the series have also recently been given another reason to celebrate, with a sixth movie currently in development and All Quiet on the Western Front director Edward Berger attached to direct.

Other new additions making waves on Apple TV’s charts include the time-travel thriller Looper, Denis Villeneuve‘s acclaimed sci-fi drama Arrival, Will Smith‘s I, Robot, and Steven Spielberg‘s alien classic E.T. the Extra-Terrestrial. With that lineup now sitting alongside The Martian, Apple TV’s latest expansion gives subscribers an impressive collection of genre favorites to revisit, and perhaps another reason to keep an eye on the platform’s library.

Stay tuned at Collider for more.

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Release Date

September 30, 2015

Runtime

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141 minutes

Writers

Drew Goddard

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Producers

Mark Huffam, Michael Schaefer, Simon Kinberg

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James Hawe‘s gripping espionage thriller The Amateur captures the legendary Rami Malek as Charlie Heller, a brilliant CIA operative with an increasingly tragic story. In an unlikely twist, Heller’s sharp intelligence becomes his ultimate weapon as he attempts a dangerous trek across the globe to capture a terrorist group that is responsible for the untimely murder of his wife. Despite the arguably seen-before premise, this edge-of-your-seat flick proves that a skilled cast keeps an unoriginal plot from folding in on itself. Aside from Malek at the helm, the Prime Video series features a star-studded support cast including, but not limited to, Rachel Brosnahan, Jon Bernthal, and Lawrence Fishburne.

Rather than going for the brawny, brooding, machismo-infused action star trope, The Amateur takes a different approach. Heller is quite literally unraveling as the film persists. He’s vulnerable and at times appears genuinely irreparably broken. He’s not a muscle-bound action hero with a sob story that he occasionally seems to care about; rather, he is entirely consumed by it. Evidently, it informs all of his choices, making for a thrilling watch with incredibly moving performances. Critics and audiences alike have pointed to this quality as the film’s penultimate strength.

Why is Apple TV’s ‘The Amateur’ Getting an Overwhelming Second Wave of Praise?

Image via 20th Century Studios

The interesting part of the film is the fact that while it’s a spy thriller, the plot is not as mysterious as one might expect. Heller’s mission is as straightforward and clear as it could possibly be, and while there are enough twists and turns to keep an audience occupied, his objective is set in stone from the very beginning. Unlike other films of a similar ilk, take The Bourne Identity or Mission Impossible, for example, the plot is propelled primarily by Charles’ deteriorating mental state, and yet his unrelenting pursuit of revenge, rather than real action or mystery. He’s an extremely regular guy, trying to be a killer, plain and simple. And it’s the unraveling caused by that push and pull that makes for a truly thrilling watch.

Additionally, the moral conundrum Charles finds himself in is rather interesting. The men who killed his wife were hired to do so by a big bad guy. In some way, can’t it be argued that Heller, working as the brain for the CIA on its own, isn’t so different from the position of his antagonists? Doubly, now on a ruthless odyssey across the globe, in a state of true unadulterated blood thirst, isn’t Charles quite literally in the exact same moral standing? Critics and audiences have found Malek’s portrayal of the former desk jockey turned nerdy vigilante rather charming, and point to both his performance and the film’s commentary on the matter as the resounding reason to return to it.

At the time of its release, with a reported budget of $60 million, The Amateur grossed nearly $100 million worldwide. It was warmly embraced by audiences, and now holds an 87% on Rotten Tomatoes, and more recently has surged on Prime Video, and jumped to the number two spot, just behind Masters of the Universe and slightly ahead of The Devil’s Mouth. The heavy lifting for the film’s success is rightfully in the hands of Malek. However, it can also be argued that it was given a slight push due to the popularity of streaming and the ability to unearth a sleeper hit when scrolling through Prime’s inventory. Whatever it may be, this film is undoubtedly gripping and certainly deserving of this second wave of popularity.

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Release Date

April 11, 2025

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Runtime

123 minutes

Director

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James Hawes

Writers

Robert Littell, Gary Spinelli, Ken Nolan

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Producers

Hutch Parker, Joel B. Michaels, Jonathan Hook, Rami Malek

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Hayden Panettiere‘s boyfriend, Brian Hickerson, has broken his silence days after the actress’ sudden death on Sunday, August 16. Hickerson released a statement through his lawyer, Sloan Ellis, and asked people to look to investigators’ comments about her death. Earlier this year, Panettiere spoke about her tumultuous relationship with Hickerson and detailed his alleged domestic abuse.

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Ellis spoke with TMZ on Thursday, August 20, on Hickerson’s behalf and told the outlet that Panettiere’s tragic death is still under investigation and spoke about the importance of letting the legal process play out.

The statement continued, “As has been publicly reported, police confirmed there were no signs of foul play.”

Elsewhere in the statement, Hickerson’s lawyer said that they would not release any further comment out of “respect” for Panettiere’s “loved ones” and friends.

Brian Hickerson Allegedly Beat Hayden Panettiere So Bad She Couldn’t Leave The House

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Panettiere detailed the challenges she had to overcome while dating Hickerson in 2019 and 2020. In her memoir, “This Is Me,” the “Remember the Titans” actress alleged that she was beaten so badly by Hickerson, an aspiring actor, that she couldn’t leave the house for weeks.

According to NBC News, Hickerson was arrested in May 2019 after police received a tip that he’d allegedly injured a spouse or girlfriend. He pleaded no contest in April 2020 and was sentenced to four years of probation.

Shortly after, Panettiere spoke with the media about why she was choosing to speak out about the alleged abuse and said that she wanted to put a spotlight on Hickerson so that other women can be aware.

“I am prepared to do my part to make sure this man never hurts anyone again,” she said.

Hayden Panettiere Died Of ‘Cardiac Arrest’ At 36 In August 2026

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Panettiere died at age 36 earlier this week after suffering a “cardiac arrest,” according to The Blast. In a statement to the media, her rep called Panettiere an “incredible light and a force of nature” before praising her for the “immeasurable love” and joy she brought to those in the world.

Panettiere’s partner, Hickerson, was present at the scene when the actress died. According to first responders, investigators spoke with Hickerson’s brother, Zach, who was “emotional” while emergency personnel were working on her. The report also stated that Hickerson wasn’t visibly emotional until she was pronounced dead.

Hickerson reportedly showed first responders a “bag of medication” that the “Bring It On” actress was taking when she died.

Panettiere Felt ‘Groomed’ To Be A Child Star

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In addition to the alleged abuse she suffered during her relationship with Hickerson, Panettiere also said in early 2026 that she had a strained relationship with her mother, Lesley.

Panettiere went on to say that she felt “groomed” into being an actor by the elders in her life.

“No was never an option. It was just, ‘Here are your scenes, here’s your dialogue, memorize it, hit the marks, do what your director tells you to do.’ I took my marching orders,” she said.

Panettiere Reflects On Making Her Mother Upset When She Was A Child Star

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In her book, the “Bring It On” star said her relationship with acting only got worse as she got older, revealing that her mother’s mood also depended on how well she performed.

“When she was irritated, she opened her mouth ever so slightly. When she was mad, she clenched her jaw. When she was so angry that my best option was to hide under my bed, her lower jaw migrated a few centimeters forward. I looked up and back at Mom, and there was that soul-shattering underbite,” she wrote.

RIP Hayden Panettiere.