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The 20 Greatest Thriller Movie Masterpieces of All Time, Ranked

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A woman in sunglasses and a man in a hat hide behind a bar in Double Indemnity, 1944.

Thrillers are often seen as mysteries to solve and stories designed to create and nurture tension. But the best ones never work so cleanly; they unnerve us in ways that don’t end when the credits roll. Beyond danger and suspense, a great thriller is about control, terror, obsession, power, and the moment when something familiar becomes hostile.

These are the 20 greatest thriller movie masterpieces of all time, ranked not by twists, body counts, or technical perfection, but by impact: on cinema, on the genre, and on audiences. The best thrillers trust that viewers will meet them halfway, and they endure because of that trust. Over time, that understanding turns into something stronger, like love, adoration, and lasting influence.

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20

‘Double Indemnity’ (1944)

A woman in sunglasses and a man in a hat hide behind a bar in Double Indemnity, 1944.
A woman in sunglasses and a man in a hat hide behind a bar in Double Indemnity, 1944.
Image via Paramount Pictures

Double Indemnity is often considered the greatest noir film ever made because of the clarity of its structure and tropes. It defines and designs noir, from a femme fatale to a naive man willing to put his hand in a flame for her and a sleight of hand that no one sees, including the audience. And what makes it a thriller masterpiece is Billy Wilder‘s establishment of many thriller bases still used today: the unreliable narrator, the slow collapse of a “perfect” plan, and the use of shadows and tight interiors to emphasize the sense of entrapment.

Double Indemnity follows the insurance salesman Walter Neff (Fred MacMurray), who enters an insurance scheme to help the dissatisfied housewife, Phyllis Dietrichson (Barbara Stanwyck) get out of her marriage. The film is structured from Neff’s point of view (and narration) as a confession of the crime, which removes suspense about what happens and instead focuses all its tension on how and why things fall apart. Double Indemnity‘s influence on modern psychological thrillers is unparalleled.

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19

‘High and Low’ (1963)

A man looking pensive in high-and-low Image via Toho

Akira Kurosawa has tackled several genres in his career; as a lover of art in general, he always had ideas for a new story, and oftentimes, it was an idea that inspired other filmmakers and future generations. For example, 62 years after the premiere of his hit High and Low, Spike Lee made a remake called Highest 2 Lowest, proving that the original still feels relevant and resonant. Indeed, High and Low begins as a crime story, unfolds as a moral dilemma, and ends like a police procedural; it’s one of the most unique and immersive thrillers you could give yourself the joy of watching.

In High and Low, a wealthy executive, Kingo Gondo (Toshirō Mifune), is in the middle of a major business buyout, when a kidnapper calls and asks for ransom for Gondo’s son. However, Gondo, his family, associates, and his driver, soon realize that the kidnapped child is actually the driver’s son. The first half of the film takes place almost entirely in a single room, where decisions unfold in real time. Later, it turns into a procedural manhunt, but the tension stays rooted in class conflict, contrasting elevated interiors with crowded streets and showing how decisions made up High ripple downward to Low. High and Low weaves together social structure and suspense, and the title isn’t just literal, but highly thematic.

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18

‘Heat’ (1995)

Robert De Niro assisting a wounded Val Kilmer down the street in Heat
Robert De Niro assisting a wounded Val Kilmer down the street in Heat
Image via Warner Bros.

Michael Mann‘s Heat is considered a thriller masterpiece because of its commitment to procedural realism, the one compelling downtown LA shootout, and an unusual symmetry between its leads, Robert De Niro and Al Pacino. Both play for different sides but equally operate by their own strict codes; the story doesn’t designate one as morally superior, making it a not-so-classic story of “cops and robbers.” The famous diner scene is all about their mutual recognition, and the viewers’ understanding that these men are the two sides of the same coin. Heat also keeps the tension on a high notch over a long runtime without losing focus, which is rare in thrillers, or any sort of movie, for that matter.

Heat follows two professionals: Neil McCauley (De Niro), a disciplined career criminal, and Detective Vincent Hanna (Pacino), an obsessive detective; both are defined by their work and feel a sense of duty toward “the game.” The plot is linear, introducing robberies, surveillance, and pursuit, but the tension comes from preparation, routine, and inevitable but somewhat predictable moments. It’s incredible how knowing what might happen still feels intensely exciting; like a rush of “I told you so” but with higher stakes. Heat‘s influence is visible across modern crime cinema, and it’s so well-made that it still looks fresh and exciting.

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17

‘Alien’ (1979)

Alien is one of the most recognizable horror thrillers of our time, and Ridley Scott‘s masterpiece. It’s a sci-fi film with lots of iconic elements, starting with the aliens designed by H.R. Giger and going into the design of the spaceship. Sound design comes into it, too, the deliberate pacing, and the absences as much as head-on confrontations, making the movie a masterclass of suspense. Overall, Alien often works less as sci-fi and more as a survival thriller, using isolation and the unknown as the main points of tension.

Alien follows a commercial space crew who encounter a deadly alien creature after responding to a distress signal picked up by their ship’s computer. The alien is revealed slowly, and much of the fear comes from the unseen, or just the hints of its presence. With the monster’s appearance, Alien begins to flip expectations by killing off characters who seem crucial, allowing Ellen Ripley (Sigourney Weaver) to organically become the protagonist, showing a competent and calculated fighter. Alien is still the greatest example of restraint and structure being used to create lasting suspense; many people who see the images from the film still remember the first time they watched this movie and the feeling it gave them.

16

‘Oldboy’ (2003)

Cho Min-sik as Dae-su Oh holding a weapon in Oldboy.
Cho Min-sik as Dae-su Oh holding a weapon in Oldboy.
Image via Show East
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Oldboy is the most famous movie Park Chan-wook has made, though his filmography is a collection of visually stunning stories that are attention-grabbing, shocking, and entrancing. Still, Oldboy stands as his masterpiece, and it truly is an all-time kind of film, moving boundaries of storytelling, introducing plot twists, and innovative, intuitive camerawork. The one unique part that makes Oldboy a fantastic thriller is how it uses and presents information. The protagonist knows as much as the audience—he’s a blank slate to himself as much as he is to viewers, until memories start attacking.

Oldboy follows Oh Dae-su (Choi Min-sik), a man who is imprisoned for 15 years without any explanation and then suddenly released. He’s given a limited amount of time to discover who imprisoned him and why, and his journey is mysterious and quite stressful, full of revenge and psychological thriller elements. Choi delivers an amazingly physical role, which helps make Oldboy so fascinating; he’s not afraid of looking unkempt and goofy, and the comparison of Dae-su’s old and new self elevates Oldboy to the best representative of character-driven thrillers.

15

‘Memories of Murder’ (2003)

Bong Joon-ho is a unique storyteller because his movies have something unexplainably amazing, like biting into a hard fruit on the outside that turns out soft and delicious on the inside. It may feel like an off metaphor, but let’s take Memories of Murder as one of the earliest examples of Bong’s genius—it’s based on a gruesome series of murders (hard on the outside), but shows how the killings impact the psyches of the detectives solving them (soft on the inside). It’s quite a masterpiece, and the more times you watch it, the more it settles in how well Bong’s framing and camerawork create an atmosphere of dread, desperation, and fear.

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Memories of Murder was based on the biggest serial killing case in 1980s South Korea, which wasn’t solved until 2019. The movie follows a rural detective, Doo-man (Song Kang-ho), and a city detective, Tae-yoon (Kim Sang-kyung) as they attempt to solve the growingly gruesome series of murders with limited resources. When standard investigative tools don’t work anymore, the detectives begin drowning in repetition and helplessness. Memories of Murder has some pretty terrifying scenes that give it its thriller charm, but the overall impression is that the story was always going to be a symbol of institutional and social limitations and failures.

14

‘Rosemary’s Baby’ (1968)

rosemarys-baby

Before Roman Polanski‘s personal life descended into complete chaos due to some terrible choices, he directed a thriller that became a blueprint for folk horror and psychological thriller for years to come, Rosemary’s Baby. This movie, starring Mia Farrow, is a feverish depiction of paranoia, fear, and isolation, showing a woman at her wit’s end; the viewers know something’s happening, they experience it with her, but those she wishes to convince won’t listen, and the fear grows into frustration and then back into fear for her and us.

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Rosemary’s Baby follows Rosemary (Farrow), who moves with her actor husband Guy (John Cassavetes) into a building with a notorious past. They’re warned by a friend that the building has a dark history, and while Guy is dismissive, Rosemary becomes worried. Soon, Rosemary becomes pregnant, and Guy is often away for work, so she becomes increasingly isolated and distrustful as her pregnancy progresses. The story is entirely shown from Rosemary’s experience, and as events unfold, she’s subjected to terrifying social expectations and control. Rosemary’s Baby has a lasting impact because of how much the horror feels embedded into everyday life, using motherhood as a weapon and a symbol.

13

‘Zodiac’ (2007)

Paul Avery (Robert Downey Jr.) and Robert Graysmith (Jake Gyllenhaal) look intently ahead in Zodiac.
Paul Avery (Robert Downey Jr.) and Robert Graysmith (Jake Gyllenhaal) look intently ahead in Zodiac.
Image via Paramount Pictures

Zodiac is a true crime thriller that feels both underrated and appropriately rated; the reason it’s a masterpiece (more than most of David Fincher‘s works) is because it possesses a certain comfort. Some have even cited Zodiac as their feel-good movie, and it’s completely understandable why—it’s long, but doesn’t drag out; it immerses you into the world it tries to represent; it presents the procedural process with a lot of information and even fascination, and it’s brilliantly acted that you forget these actors are A-listers and not just terribly obsessed pursuers of the Zodiac Killer.

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Zodiac follows journalists Paul Avery (Robert Downey Jr.) and Robert Graysmith (Jake Gyllenhaal) and detective Dave Toschi (Mark Ruffalo) as they obsessively track the Zodiac Killer over decades. The Zodiac taunts the press and the police through letters and cryptic ciphers, and while every lead, suspect, and false connection make the pursuit frustrating, it leaves those truly interested in catching him even more motivated. Some moments are more intense than others and the flow of the film helps viewers draw their own conclusions; the Zodiac was never caught, and Fincher took 18 months to conduct his own investigation before directing the film.

12

‘The Parallax View’ (1974)

Joseph Frady looking back at a person offscreen in The Parallax View
Joseph Frady looking back at a person offscreen in The Parallax View
Image via Paramount Pictures

Speaking of underrated masterpieces, The Parallax View is undoubtedly one of them. This Alan J. Pakula movie is a representative example of conspiracy thrillers, an underestimated sub-genre. There’s nothing like a great conspiracy movie to kickstart the anxiety—it’s everything we want out of a good thriller. The Parallax View makes paranoia seem completely rational by unfolding the conspiracy through the commonsense protagonist, a journalist played by Warren Beatty. Pakula’s directing is pretty interesting here: he shows large public spaces and wide compositions to diminish the characters and reinforce the power imbalance at play. This is where image and sound join forces to make us feel like “the man” is always all around us.

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The Parallax View follows journalist Joe Frady (Beatty), whose ex-girlfriend, journalist Lee (Paula Prentiss) dies suspiciously. This prompts Joe to begin investigating a series of political assassinations that seem unrelated but share unsettling similarities. As he digs deeper, the film’s paranoia grows stronger, revealing a threat that’s not a single antagonist, but a system designed to absorb and erase individuals. If you missed this existential masterpiece, make sure you watch it soon and see for yourself why it’s so revered and respected.

11

‘Mulholland Drive’ (2001)

Laura Harring looking intently in Mulholland Drive Image via Universal Pictures

Mulholland Drive is often considered one of the greatest movies ever made, and it’s a thriller that often blurs the lines between dream and reality. Many analyses say the movie turns into a dream halfway through, others believe every bit of it is fantasy, while some rationalize it in many different ways. According to David Lynch, none of this is correct, and all of it is—he never really cared about rebuking or confirming theories about any of his movies. Lynch uses sound design, repetition, and abrupt tonal shifts to create unease; the theme is identity, which is the most fragile subject to cover in a thriller that often knocks the metaphorical ground beneath our feet.

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Mulholland Drive follows the aspiring actress, Betty Elms (Naomi Watts) and an amnesiac woman calling herself Rita (Laura Harring), who meet by accident and attempt to piece together Rita’s identity and uncover a crime that may or may not have occurred. Nothing comes easy when watching Mulholland Drive; it feels comforting to draw conclusions but also just watch the movie unfold without deciding what happens. You can watch it and experience it differently in any state of mind, making Lynch’s masterpiece the ultimate thriller that plays with the viewers’ minds.

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How Handmaid’s Tale’s Elisabeth Moss Makes Testaments Cameo

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Everything to Know About RHOSLC Alum Jen Shah's Legal Drama

The Handmaid’s Tale spinoff The Testaments immediately found a way to bring Elisabeth Moss‘ June back into the story.

During the Wednesday, April 8, series premiere, it was revealed that new Pearl Girl Daisy (Lucy Halliday) is actually involved in Mayday. A day in her life before she arrives in Gilead is shown at the end of the episode, where she skateboards into her parents’ store as June is seen watching her in the background.

June reappears again in the show’s third episode, as viewers learn more about Daisy and what leads to her joining Mayday. Before Moss’ surprise cameo, stars Rowan Blanchard and Mattea Conforti spoke exclusively to Us Weekly about the actress’ involvement.

“We haven’t met her [yet] but we are really hoping to meet her soon,” 24-year-old Blanchard, who plays Shunammite, said. “She’s our producer and she was really involved in the show and what it would look like.”

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Conforti, 19, who brings Becka to life, pointed out that June hasn’t met their characters — yet. Their costar Chase Infiniti also hinted that she didn’t cross paths with Moss, 43, while on set despite playing her onscreen daughter.

“I actually didn’t get to meet Elisabeth Moss really until the end [of filming],” Infiniti, 25, told People in March.

Infiniti, who plays Hannah a.k.a Agnes on the Hulu series, recalled the advice Moss gave her once they did meet, recalling how Moss “wrapped me into a big hug and was kind of like, ‘You got this. You got this. OK? You got it.’”

Based on Margaret Atwood’s novel of the same name, The Handmaid’s Tale, which aired from 2017 to 2025, took place in a dystopian future where low fertility rates led women to be assigned to men for bearing children.

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The Testaments, which is set several years after the events of The Handmaid’s Tale, is narrated by Ann Dowd‘s Aunt Lydia. As viewers are thrust back into the dystopian future, they follow characters such as Agnes from Gilead and Daisy from Canada as they secretly gather and smuggle incriminating information about Gilead’s regime out of the country. Agnes and Daisy pose as “Pearl Girls” to infiltrate Canada, while Aunt Lydia acts as a covert source within Gilead.

In addition to Infiniti, Dowd and Halliday, The Testaments stars Eva Foote, Kira Guloien, Amy Seimetz and Brad Alexander. Birva Pandya, Zarrin Darnell-Martin, Shechinah Mpumlwana, Mabel Li and Isolde Ardies make up the rest of the cast.

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The Testaments airs Wednesdays on Hulu.

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Amy Duggar Calls Brothers’ Arrests a ‘Protected’ Pattern

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Everything to Know About RHOSLC Alum Jen Shah's Legal Drama

Amy Duggar, the cousin of Josh Duggar and Joseph Duggar, has labelled their arrests a “pattern” that has been “allowed.”

In an Instagram video shared on Tuesday, April 7, Amy, 39, reflected on the child molestation charges filed against Joseph, 31, last month and the 2021 sex offender conviction that currently has Josh, 38, incarcerated.

“When one family member goes to prison for crimes against children and then another brother goes to jail allegedly for crimes against children, that is not a coincidence,” Amy told fans in the post. (Joseph was arrested in Arkansas on March 19 and extradited to Florida on March 31 before he was released on $600,000 bail.)

Amy continued, “That’s not random, that’s not bad luck, that’s not anything like that. That’s called a pattern. And patterns don’t come from nowhere. Patterns come from what’s been protected, what’s been ignored, and what’s been allowed to continue. At some point, you have to stop asking yourself, ‘How did this happen again?’ and realize that there is an environment that let this happen in the first place.”

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Josh, the eldest of Jim Bob and Michelle Duggar’s children, is serving a 151-month federal prison sentence following his April 2021 arrest on grounds of receiving and possessing child pornography. Josh maintained his innocence but was found guilty in December that year. He is scheduled to be released in December 2032.

Joseph, the seventh oldest child belonging to Jim Bob, 60 and Michelle, 59, was last month charged with lewd and lascivious behavior involving molestation of a victim less than 12 years old. He was also charged with lewd and lascivious behavior conducted by a person 18 years or older. The charges were presented after a 14-year-old came forward to police accusing Joseph of molesting her when she was 9-years-old during a 2020 vacation to Panama City Beach, Florida.

Additionally, Joseph and his wife, Kendra Duggar, were both charged with four counts of endangering the welfare of a minor, second-degree, and four counts of second-degree false imprisonment. These secondary charges are unrelated to Joseph’s molestation allegations, and Kendra, 27, was released on bond the same day she was arrested.

Amy, who is the daughter of Jim Bob’s older sister Deanna Jordan, continued to address the family’s troubles in her Instagram post. “So two brothers now with mug shots, and victims that are young, allegedly, that is not a pattern, that is exposure to something deeper and something darker,” she stated. “You can’t protect your reputation and protect children at the same time in this kind of closed system.”

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Amy continued, “I’m sure we all have questions. For example, how many were there that were not reported of the same kind of situation? How many more children were not protected when they should have been? How many more enablers [exist] and who knew all this information? I guarantee you someone knew in this family and didn’t say a thing. The scariest part for me is not the information we do know — it’s … all the information that we don’t right now because I guarantee you, there’s more to this story.”

A vocal critic of Joseph since news of the arrest broke, Amy told Us Weekly in a statement following his arrest that she was “sickened, heartbroken and deeply angry” about the allegations against him.

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If you or someone you know has been sexually assaulted, contact the National Sexual Assault Hotline at 1-800-656-HOPE (4673). If you or someone you know is experiencing child abuse, call or text Child Help Hotline at 1-800-422-4453.

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Ridley Scott’s Disastrous Historical Epic Is Quietly Redeeming Itself 12 Years Later

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exodus-gods-and-kings-poster-bale-and-edgerton.jpg

Late last year, it was confirmed that the nearly-90-year-old Hollywood icon Ridley Scott’s next big project had been delayed, moving from its original March 27, 2026, release date to August 28, 2026. Following a short 34-day shoot in the United Kingdom, the film began to pick up a small buzz, with this move to a more Academy-friendly release slot suggesting an intention to set the wheels in motion on an awards campaign for The Dog Stars. The post-apocalyptic sci-fi drama features a stacked cast, including Jacob Elordi, Josh Brolin, Margaret Qualley, and Guy Pearce.

At a time when fans were supposed to be basking in the glory of Scott’s latest sci-fi effort, they instead face another three-month wait for its release. It seems that they are turning to one of his more forgotten projects, a film that was sadly a biblical-sized failure, to pass the time. The movie in question is Exodus: Gods and Kings, a 2014 epic that boasted an ambitious $140 million budget and a cast packed with talent. Led by Christian Bale as Moses and Joel Edgerton as Ramses, the ensemble also included Ben Kingsley as Nun, John Turturro as Seti, Aaron Paul as Joshua, Ben Mendelsohn as Viceroy Hegep, long-time Scott collaborator Sigourney Weaver as Tuya, and Indira Varma as the High Priestess.

Sadly, thanks in part to the film’s inflated budget, Exodus: Gods and Kings failed to return success during its theatrical run. In total, the movie made just $268 million in global revenue, split between $65 million in domestic revenue and $203 million from overseas markets, a haul that was $12 million short of the breakeven point. However, 12 years later, the film is proving it has staying power, as it ranks as one of the ten most-watched movies on Tubi in the U.S., at the time of writing.

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Collider Exclusive · Oscar Best Picture Quiz
Which Oscar Best Picture
Is Your Perfect Movie?

Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country

Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.

🪜Parasite

🌀Everything Everywhere

☢️Oppenheimer

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🐦Birdman

🪙No Country for Old Men

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01

What kind of film experience do you actually want?
The best movies don’t just entertain — they leave something behind.





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02

Which idea grabs you most in a film?
Great films are driven by a central obsession. What’s yours?





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03

How do you like your story told?
Form is content. The way a story is shaped changes what it means.





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04

What makes a truly great antagonist?
The opposition defines the protagonist. What kind of opposition fascinates you?





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05

What do you want from a film’s ending?
The final note is the one that lingers. What do you want it to sound like?





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06

Which setting pulls you in most?
Where a film takes place shapes everything — mood, stakes, what’s even possible.





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07

What cinematic craft impresses you most?
Every great film has a signature — a technical or artistic element that makes it unmistakable.





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08

What kind of main character do you root for?
The protagonist is the lens. Who you choose to follow says something about you.





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09

How do you feel about a film that takes its time?
Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.





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10

What do you want to feel walking out of the cinema?
The best films leave a mark. What kind of mark do you want?





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The Academy Has Decided
Your Perfect Film Is…

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

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Parasite

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

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Everything Everywhere All at Once

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

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Oppenheimer

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

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Birdman

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

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No Country for Old Men

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

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Critics Weren’t Fond of ‘Exodus: Gods and Kings’

Despite featuring an impressive cast, bold visual ambition, and the veteran instincts of director Scott, Exodus: Gods and Kings failed to impress critics. This is best seen on review aggregator Rotten Tomatoes, where the film earned just 29%, with the consensus on the site reading, “While sporadically stirring, and suitably epic in its ambitions, Exodus: Gods and Kings can’t quite live up to its classic source material.” A synopsis for the movie reads:

“The defiant leader Moses rises up against Egyptian Pharaoh Ramses II, setting six hundred thousand slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues.”

Exodus: Gods and Kings is streaming for free on Tubi. Stay tuned to Collider for more streaming updates.


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Release Date

December 12, 2014

Runtime

150minutes

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High Potential Loses Steve Howey After Season 2 Finale Twist

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High Potential hinted at a cast exit after an apparent onscreen death — but it is now confirmed that a main character won’t be coming back.

The Tuesday, April 7, finale showed Wagner (Steve Howey) getting shot and Morgan (Kaitlin Olson) trying to save his life. His fate remained unclear but off screen the actor has been cast in upcoming seasons of Off Campus and Ransom Canyon, which hinted at a departure.

Deadline confirmed that the Season 2 finale marked the last episode as a series regular for Howey. After joining earlier this season, Howey wasn’t expected to return due to him signing a one-year deal. Wagner’s story has not been fully determined yet though and there is a chance Howey could come back as a guest star at the beginning of season 3 to wrap up his arc.

Howey previously teased his arc on the show while speaking exclusively to Us Weekly in September 2025, saying, “Nick comes in and does ruffle some feathers. But his motives and his intentions are not to do that. He wants to help and we start seeing that in different episodes.”

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Shocking TV Exits Through the Years 266


Related: Shocking TV Exits Through the Years

All good things must come to an end, even when it comes to TV. Over the years, many television stars have suddenly left their roles — while others have been cut from a series without much notice. Anna Faris announced in September 2020 that she was leaving CBS’ Mom after starring as the lead character […]

He continued: “That was my fear and my concern. When you have such a lightning in the bottle strong dynamic of these characters, throwing in another character can potentially thrown that off. I’m still working on not doing that. This is going to evolve into something really cool. We don’t know about the chemistry with Nick and Morgan. Obviously there is [something]. But as he’s incrementally gaining more trust with the department, hopefully it gets better and better.”

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Howey, for his part, was thrilled at the chance to join one of his favorite shows.

“The first season was amazing. It is not your usual procedure. I love the insert shots and I love their style. But I have friends in real life that are police officers and are part of the sheriff’s department. So I talked to them and they definitely made fun of me because that’s what they do,” he told Us. “I’m taking my own leeway a little bit about who this guy is and that comes from the writers about who his family is and how they were in law enforcement and now in politics. So he has something to prove to the department and to himself. So it’s fun to work on it and see what comes out of it.”

When asked about the best part of getting to play Nick Wagner, Howey joked, “The badge. I was like, ‘Does he get a badge?’ So I’m walking around like a little boy that has a new fireman’s hat on. I have the badge on my hip and I am flipping up my jacket. I’m in the mirror showing off for myself.”

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Sullivan's Crossing


Related: Most Shocking TV Exits of 2026: From ‘Grey‘s Anatomy‘ to ‘Virgin River‘

It is never easy to unexpectedly say goodbye to your favorite characters — and 2026 has featured an influx of shocking departures on our TV screens from Grey’s Anatomy to Virgin River. Virgin River fans were surprised when showrunner Patrick Sean Smith confirmed multiple characters were written off the show after season 7. Marco Grazzini addressed […]

Wagner’s fate will be decided by a new showrunner, who has yet to be announced. Before season 2 came to an end, news broke in March that showrunner Todd Harthan exited the show to focus on the upcoming live-action adaptation of Christopher Paolini’s YA book series The Inheritance Cycle. The adaptation — titled Eragon — is cocreated with Paolini and Harthan will serve as coshowrunner alongside Todd Helbing.

High Potential, which premiered in September 2024, was created by Drew Goddard. The pilot was written by Goddard, who was expected to executive produce alongside Sarah Esberg, Rob Thomas, Dan Etheridge, Pierre Laugier, Anthony Lancret, Jean Nainchrik and Alethea Jones.

Thomas, meanwhile, was expected to serve as the showrunner before exiting in June 2024 — months before the series premiere. Harthan was ultimately announced as the new showrunner, who also served as an executive producer.

High Potential is now streaming on Hulu.

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Sydney Sweeney Packs on the PDA With Scooter Braun

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Sydney Sweeney celebrated the season 3 arrival of Euphoria by cozying up to her boyfriend, Scooter Braun.

In two X videos, shared by The Hollywood Reporter and Vanity Fair on Tuesday, April 7, Sweeney, 28, was seen kissing and holding hands with the music executive, 44, at Hollywood’s TCL Chinese Theatre earlier that day.

In one clip, the Euphoria actress held her hand out to the music executive, 44, before he momentarily grabbed it while exiting a vehicle the pair had arrived in. They then parted ways as Sweeney, who plays Cassie Howard on the HBO series, headed towards the red carpet and Braun greeted event organizers.

In the second clip, the couple were captured seated together before Sweeney grabbed Braun’s face to plant a kiss on his lips.

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Why Scooter Braun Is a Different Kind of Romance for Sydney Sweeney He s Opened Her Eyes 1960327424 2208185032


Related: Why Scooter Braun Is a ‘Different’ Kind of Romance for Sydney Sweeney

Scooter Braun has introduced Sydney Sweeney to a new world as their romance continues to heat up. “They are dating and it has become more serious. Still not putting a label on it, but Sydney has been having a lot of fun with Scooter,” a source exclusively tells Us Weekly. “It has been low-pressure for […]

Dressed to impress, Sweeney posed solo for photos on the event’s red carpet, rocking a figure-hugging white gown with a cape attached to the back. Although Braun opted out of the red carpet altogether, Sweeney dazzled on her own, smiling for the cameras alongside Euphoria creator, Sam Levinson, and costars Maude Apatow, Jack Topalian, Alexa Demie and Hunter Schafer.

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Sweeney and Braun’s most recent public outing comes two months after Us Weekly exclusively reported that their romance was “going strong” since connecting at Jeff Bezos and Lauren Sánchez’s Italian wedding in June 2025. “It’s a very casual, laid-back relationship,” an insider told Us in February. “Sydney is not looking to settle down right now. She has been hesitant to get into another serious relationship but is enjoying her time with him.”

GettyImages-2269736123-Sydney.jpg

Sydney Sweeney
Chris Delmas / AFP

The source added that Sweeney was heavily supported by Braun as she launched her lingerie brand, SYRN, at the end of January. “Scooter loves that she has a business mindset and is very driven,” the insider told Us.

Sweeney and Braun were first linked after they were spotted walking around Italy just prior to Bezos, 62, and Sánchez, 56, exchanging vows. In the months that followed, the duo were spotted together on dates in Los Angeles and New York City before a source told Us in October 2025 that their dates had “become more serious.”

The insider said at the time, “[They’re] still not putting a label on it, but Sydney has been having a lot of fun with Scooter. It has been low-pressure for both of them and has been a different relationship for Sydney. Scooter has introduced her to new perspectives, especially when it comes to business.”

GettyImages-2259818745-Braun.jpg

Scooter Braun
Rodin Eckenroth/Getty Images

Prior to her romance with Braun, Sweeney split from ex-fiancé Jonathan Davino in January 2025.

For Braun’s part, he was married to health activist Yael Cohen since 2014. The former couple, who share three children, finalized their divorce in September 2022.

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The Greatest Crime Epic of All Time Is a Free Streaming Sensation

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Although recent years have offered far from the best of the genre, the gangster film was once one of the most reliable genres in Hollywood. In fact, some of the very best films are gangster movies, from Sergio Leone’s long and winding masterpiece Once Upon a Time in America and Quentin Tarantino’s breakout hit Reservoir Dogs to Fernando Meirelles and Kátia Lund‘s genius Brazilian flick City of God and, of course, one of the most widely celebrated films of all time, The Godfather.

However, if there is one other movie that could possibly rival The Godfather for the title of the genre’s best, it is Martin Scorsese’s magnum opus, Goodfellas. Hailed as one of the finest pieces of filmmaking ever, and dubbed an “epic cinematic masterpiece” by the one and only Steven Spielberg, Goodfellas is held in almost singularly high regard by most cinephiles. Boasting a 93% critics’ score and 97% from audiences on review aggregator Rotten Tomatoes, the consensus on the site reads, “Hard-hitting and stylish, GoodFellas is a gangster classic — and arguably the high point of Martin Scorsese’s career.”

At the 63rd Academy Awards in 1991, the film was nominated in six categories but walked away victorious only in Best Supporting Actor (Joe Pesci), with the Academy choosing to honor Kevin Costner‘s first Western triumph, Dances with Wolves, with the Best Picture prize instead of Goodfellas. 36 years after the film debuted in theaters and changed the gangster genre forever, Goodfellas is once again a hit with audiences. At the time of writing, Scorsese’s masterpiece is one of the ten most-streamed movies on Tubi in the U.S.

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Collider Exclusive · Oscar Best Picture Quiz
Which Oscar Best Picture
Is Your Perfect Movie?

Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country

Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.

🪜Parasite

🌀Everything Everywhere

☢️Oppenheimer

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🐦Birdman

🪙No Country for Old Men

Advertisement

01

What kind of film experience do you actually want?
The best movies don’t just entertain — they leave something behind.





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02

Which idea grabs you most in a film?
Great films are driven by a central obsession. What’s yours?





Advertisement

03

How do you like your story told?
Form is content. The way a story is shaped changes what it means.





Advertisement

04

What makes a truly great antagonist?
The opposition defines the protagonist. What kind of opposition fascinates you?





Advertisement

05

What do you want from a film’s ending?
The final note is the one that lingers. What do you want it to sound like?





Advertisement

06

Which setting pulls you in most?
Where a film takes place shapes everything — mood, stakes, what’s even possible.





Advertisement

07

What cinematic craft impresses you most?
Every great film has a signature — a technical or artistic element that makes it unmistakable.





Advertisement

08

What kind of main character do you root for?
The protagonist is the lens. Who you choose to follow says something about you.





Advertisement

09

How do you feel about a film that takes its time?
Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.





Advertisement

10

What do you want to feel walking out of the cinema?
The best films leave a mark. What kind of mark do you want?





Advertisement

The Academy Has Decided
Your Perfect Film Is…

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

Advertisement

Parasite

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

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Everything Everywhere All at Once

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

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Oppenheimer

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

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Birdman

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

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No Country for Old Men

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

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What Is ‘Goodfellas’ About?

As the twelfth directorial effort in Scorsese’s career, many believe this was the icon at the peak of his powers. The film featured several memorable performances in one of the best ensembles ever assembled, including Ray Liotta starring as Henry Hill; Lorraine Bracco as Hill’s wife, Karen Hill; Robert De Niro as Jimmy Conway; Joe Pesci as Tommy DeVito; and Paul Sorvino as Paulie Cicero. A synopsis for the movie reads:

“Henry Hill, a poor Irish-Italian growing up in the 1950s New York City, rises through the ranks of his neighborhood’s organized crime branch; he ends up in the FBI’s witness protection program after testifying against his former partners.”

Goodfellas is streaming for free on Tubi. Make sure to stay tuned to Collider for the latest streaming stories.


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Release Date

September 19, 1990

Runtime

145 minutes

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Producers

Barbara De Fina

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Tori Spelling Reveals What Happened Before Scary Crash

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Tori Spelling at iHeartRadio 102.7 KIIS FM's Jingle Ball 2021

Tori Spelling is opening up after a terrifying car accident that sent her, four of her children, and three of their friends to the hospital. 

The crash, which happened recently, left the group shaken and dealing with multiple injuries. 

Days later, the actress shared new details about the incident, including the split-second decision she made to protect the kids and the overwhelming gratitude she feels after what could have been a far more devastating outcome.

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Tori Spelling Recalls Split-Second Decision During Crash

Tori Spelling gave a detailed account of the crash in a video posted on Instagram days after the incident. 

The accident happened on April 2 in Temecula, California, about 80 miles outside Los Angeles, with eight people in the vehicle.

According to Spelling, the crash was caused by another driver who was “speeding, going crazy, crazy fast” and ran a red light before hitting their car. 

She described how quickly the situation escalated and how she reacted instinctively.

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“In a split second, I looked to my right and I saw he was coming full on, full impact into the side of our car,” the actress said. 

Trying to protect the children, Spelling explained, “I turned hard left, as hard as I could, as fast as I could, to avoid as much impact on the children as possible.”

Spelling Expresses Gratitude After Scary Accident

Tori Spelling at iHeartRadio 102.7 KIIS FM's Jingle Ball 2021
MEGA

Despite the terrifying experience, Tori Spelling emphasized how grateful she felt that the situation wasn’t worse. Reflecting on the crash, she shared just how serious it could have been.

“We are so grateful and so lucky, because it could have been so much worse,” the “Scary Movie” star said, adding that she felt protected in that moment. 

She continued, “I’m just really grateful that in a split second, guardian angels were definitely with us that day.”

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Spelling also thanked the Inland Valley and Wildomar first responders who assisted at the scene, noting that they provided “great care” to everyone involved.

Beyond that, she acknowledged the outpouring of support from others, saying, “I’m grateful to everyone who has reached out and repeatedly checked on us and offered to do whatever we needed to get us through this and all the blessings everyone has sent.”

Fans Offer Support To Tori Spelling Amid Her Frightening Ordeal

Tori Spelling attends the World premiere of 'Jumanji: The Next Level'
Lumeimages / MEGA

Shortly after Spelling shared the video, thousands of fans trooped to the comments section to express relief and happiness over the safety of the star and the seven kids.

“So glad you are all okay. I know how terrifying it must have been for all of you. I hope you all are healing,” one fan commented. 

A second person shared, “Sending you and your kids and their friends so much love and light and healing energy!! Thank God you guys are ok.”

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A third fan also commented, “So glad you all are physically ok. My thoughts and prayers are with you and the kids as you navigate through. It sounds like it was a terrifying experience.”

A fourth user added, “I am grateful that you made it through on. You used your driver instincts to make that hard left turn. Sending prayers and hugs.”

Spelling And Children Hospitalized Following Crash

Tori Spelling at iHeartRadio 102.7 KIIS FM's Jingle Ball 2024 - Red Carpet
C Flanigan/imageSPACE / MEGA

As The Blast reported, deputies from the Riverside County Sheriff’s Office were dispatched to the scene around 5:45 p.m. and found two vehicles with collision damage.

According to their account, Tori Spelling was driving four of her children and three of their friends when a driver hit them after allegedly speeding and running through a red light. 

Following the incident, all eight occupants were transported to the hospital in three separate ambulances. 

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At the hospital, Spelling and the children were treated for injuries including cuts, bruises, contusions, and concussions. 

No arrests were made, and everyone involved was evaluated at the scene before being taken for further care.

Tori Spelling And Family Still ‘Shook Up’ But Recovering After Incident

Tori Spelling sighted in NYC
MEGA

In the days following the accident, sources provided insight into how Spelling and the children had been coping. 

Speaking to PEOPLE, one source described the crash as “scary” and said it “happened very quickly.”

The source shared that “Everyone’s still pretty shook up and have minor injuries,” reflecting the emotional impact of the experience. Despite that, there was also a sense of relief about how things turned out.

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“Tori feels they were all very lucky that it wasn’t worse, though,” the source added, noting that the outcome could have been far more serious.

In a positive moment after the ordeal, the family was able to come together shortly afterward. 

According to the same source, they felt fortunate that “they were all able to spend Easter together,” marking a moment of relief after an otherwise frightening experience.

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Taylor Frankie Paul's lawyer claims Dakota asked for sex after alleged domestic violence incident, judge rules on temporary custody

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The former couple is under investigation for three alleged domestic violence incidents.

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Netflix’s Answer to James Bond Is a Late-Night Streaming Sensation

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Netflix’s Answer to James Bond Is a Late-Night Streaming Sensation

Not every Netflix action pickup travels like this but this new 119-minute South Korean spy thriller arrived with the right ingredients for a global break: it is directed by Ryoo Seung-wan, built around a premium cast led by Zo In-sung, Park Jeong-min, Park Hae-joon, and Shin Sae-kyeong, and set in Vladivostok, where South and North Korean operatives get pulled into a criminal web of shifting loyalties and escalating violence.

As per FlixPatrol, the instant streaming come-up shows that viewers understood that pitch immediately, especially those looking for something to scratch that James Bond itch as fans wait for Amazon’s reboot. As of April 7, it is the #1 movie on Netflix worldwide. The country breakdown shows this was not a narrow regional spike. It is sitting at #1 right now in markets including Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, Romania, South Korea, Taiwan, Vietnam, Morocco, and Martinique, while also holding strong at #2 in places such as Hong Kong, Japan, Jordan, Kenya, Malaysia, the Philippines, Singapore, and the UAE. Not just that, during the last seven days, the film has consistently stayed in the Top 10 in most of the regions it is currently trending high up in.

That movie is Humint, and what makes its rise feel significant is how widely it has connected outside its home market. Netflix has leaned into the film’s mix of hand-to-hand combat, gunfights, and car chases, but the bigger selling point is that it is not just action. It is espionage action with geopolitical friction, emotional baggage, and a border-city setting that instantly gives the movie a colder, more dangerous texture than generic streaming thrillers. Yes, it is a Korean action film, but its Netflix run already looks far bigger than a domestic-fandom story. The film premiered globally on Netflix on March 31, and within a week it had spread across Asia, the Middle East, Latin America, and parts of Europe.

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Collider Exclusive · Oscar Best Picture Quiz
Which Oscar Best Picture
Is Your Perfect Movie?

Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country

Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.

🪜Parasite

🌀Everything Everywhere

☢️Oppenheimer

Advertisement

🐦Birdman

🪙No Country for Old Men

Advertisement

01

What kind of film experience do you actually want?
The best movies don’t just entertain — they leave something behind.





Advertisement

02

Which idea grabs you most in a film?
Great films are driven by a central obsession. What’s yours?





Advertisement

03

How do you like your story told?
Form is content. The way a story is shaped changes what it means.





Advertisement

04

What makes a truly great antagonist?
The opposition defines the protagonist. What kind of opposition fascinates you?





Advertisement

05

What do you want from a film’s ending?
The final note is the one that lingers. What do you want it to sound like?





Advertisement

06

Which setting pulls you in most?
Where a film takes place shapes everything — mood, stakes, what’s even possible.





Advertisement

07

What cinematic craft impresses you most?
Every great film has a signature — a technical or artistic element that makes it unmistakable.





Advertisement

08

What kind of main character do you root for?
The protagonist is the lens. Who you choose to follow says something about you.





Advertisement

09

How do you feel about a film that takes its time?
Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.





Advertisement

10

What do you want to feel walking out of the cinema?
The best films leave a mark. What kind of mark do you want?





Advertisement

The Academy Has Decided
Your Perfect Film Is…

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

Advertisement

Parasite

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

Advertisement

Everything Everywhere All at Once

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

Advertisement

Oppenheimer

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

Advertisement

Birdman

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

Advertisement

No Country for Old Men

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

Advertisement

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‘Humint’ Has a Humble Rating on IMDB for Now

Even with the rankings going through the roof, Humint is not being received like an instant critical darling just yet: it currently sits at about 6.5–6.6/10 on IMDb, which is a fairly modest score for a movie performing this strongly on Netflix’s global charts. And on Rotten Tomatoes, the film still doesn’t have an official critics’ or audience score locked in, so its long-term reception story is still very much unsettled.

Humint is available to stream on Netflix. Stay tuned to Collider for more updates.

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“The Testaments ”stars and showrunner break down the 'full-body chills' and thrills of the “Handmaid's Tale ”sequel premiere

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Stars Ann Dowd and Chase Infiniti, showrunner Bruce Miller, and more take EW back through Gilead’s pearly gates into a new dystopia.

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