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

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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.

9

‘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.

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‘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.

7

‘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.

3

‘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.

2

‘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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We’ve all been there: your alarm goes off late, the kids are dragging their feet and the threat of missing the bus suddenly feels very real. Thankfully, getting the troops ready to head out the door is a whole lot easier when you have cozy slip‑on shoes that you can throw on in seconds. We tracked down a rich mom slipper — the same style Jessica Alba wears — that’s stylish enough for school drop‑offs but comfortable enough for year-round wear.

Alba was spotted on the set of the 13 Going on 30 reboot rocking the classic Ugg Tazzette Slippers. The plush lining, sturdy sole and easy slip-on design make them the perfect blend of comfort and style. And while the actress wore hers behind the scenes, we think the Uggs are especially great for busy school mornings, and we found the exact pair on Amazon.

Get the Ugg Tazzette Slippers for $110 at Amazon! Please note, prices are accurate as of the publishing date but are subject to changes. 

Uggs have remained a favorite for years due to their blend of cozy materials, style versatility and year-round wearability — and the Tazzette Slippers are perhaps the most iconic silhouette of the bunch. With their warm sheepskin interior and durable indoor-outdoor sole, they’re built for those chaotic, no-makeup mornings when you’re running out the door, coffee in hand.

Related: Jennifer Garner Uses This Exact Lunch Box for Her Kids — On Sale!

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The time has come to make sure your kids have everything they need to stroll back into school. Of course, their gear must include a trusty lunch box, and Jennifer Garner showed Us which option (out of the many!) she chose to pack her own kids’ lunches. “Lunch boxes are a four-season sport,” Garner said […]

Whether you want to take a nod from Alba’s style playbook and pair the quiet luxury shoe with a leather midi skirt and draped sleeveless blouse, or keep things extra cozy with leggings and an oversized sweatshirt, you’ll be stepping into back-to-school-season with comfort, ease and just the right dose of rich mom polish.

With hundreds of five-star ratings, it’s clear shoppers rely on the slip-on shoe for everything from lounging around the house to running errands in style. Reviewers attest to their cozy cushion, endless warmth and everyday wearability.

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“I wanted something I could slip in and out of easily, like flip-flops, but more appropriate for winter, and these turned out to be perfect,” another customer wrote. “I have been wearing them everywhere and barely caring that they look like slippers.”

Channel Alba’s rich mom style with the exact chic Ugg slippers that will become your go-to pair come fall. They’ll make back-to-school season more cozy and comfy, guaranteed. The only problem? Realizing your kids might steal them from you!

Get the Ugg Tazzette Slippers for $110 at Amazon! Please note, prices are accurate as of the publishing date but are subject to changes. 

Looking for something else? Explore more rich mom slippers, and don’t forget to check out all of Amazon’s Daily Deals for more great finds! 

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Related: What‘s a ‘Boatkin‘ Bag? Meet the Rich Mom Carryall of Our Dreams

When you think of an Hermès Birkin and an L.L.Bean Boat and Tote, chances are you think the two well-known styles belong to different customers. However, the brand Hathaway Hutton, founded by Jen Risk, put the two together to create the tote bag design of our dreams — now officially known as the ‘Boatkin’ bag. […]