There are so many movies made each year, it gets harder and harder to keep track of the truly fantastic ones. This is especially true of horror films, as the annual catalog exponentially multiplies, like a mutated virus strain that causes your head to explode. When you factor in all the horrors that have been made internationally, it becomes near impossible to register all the terrifying additions to the world’s best movie genre.

Have no fear (well, some fear after watching these). Here is a monstrous master-list of the best international horror films that you’ve never even heard of. Some come from Africa, like the genre-bending thrill ride Saloum, and others from South America, like the romance-tinged Good Manners — but the one thing they all have in common is that they are frightening as all hell and need to be watched.

10

‘Saloum’ (2021) — Senegal

Image via Lacmé

This exhilarating multi-genre-mash-up, directed by Jean Luc Herbulot, flies across the screen at a break-neck pace. Blending the exciting elements of a crime thriller with the spine-tingling facets of supernatural horror (with a touch of politically-charged action), this coolly devised, sleek film is high on entertainment and low on boring exposition.

The story is centered around a group of slick mercenaries, the “Bangui Hyenas,” including Chaka (Yann Gael), Rafa (Roger Sallah), and Minuit (Mentor Ba). After a successful mission, and an unexpected coup, their escape flight goes sideways, and they need to crash-land in the Sine-Saloum delta of Senegal. Here they sequester themselves to escape detection. The grass is always greener, it seems, since this remote island is full of ancient spirits and deceitful demons. While the mood and tone shift dramatically throughout the film, the fun quotient never does.

9

‘Pizza’ (2013) — India

Image via Sangam Cinemas

The low-budget Tamil language hit Pizza is the perfect example of a film that does a whole lot with very little; we’re talking extra toppings on this one. Director Karthik Subbaraj blends horror with satire, and, of course, romance. It’s such a smartly executed film, as it’s eerily atmospheric vibe instills tension in the audience, rather than just good ole (sometimes cheap) jump scares.

Vijay Sethupathi plays Michael, a pizza delivery guy just trying to make a buck (or so it seems). On a routine job one night, he gets stuck inside a bungalow and a cavalcade of supernatural occurrences besiege him. What makes Pizza really fun is the cheeky way that some of the specters are handled, and Sethupathi’s convincingly real (and humorous) performance, and the sly one given by Michael’s wife, Nikita (Parvathy Omanakuttan). In true ironic horror fashion, there is a big twist, and then an even bigger ending twist. Grab a slice and sink your teeth into this little-known, tasty flick.

8

‘Baskin’ (2015) — Turkey

Image via IFC Midnight

The word “baskin” in Turkish translates to “police raid” or “ambush,” which is a very clever title because the film is centered on a group of cops who raid an abandoned building — and then are ambushed by a satanic cult. It’s a dream-like hellscape of surrealism, chocked full of uniquely Turkish perspectives and engaging, idiosyncratic characters.

Can Evrenol’s Baskin is also stacked with gore and stunning visuals, but it’s really the trippy atmosphere and disturbing ambience that elevate it. Oh, and frogs — tons and a tons of frogs. The police, anchored by a great performance by Görkem Kasal as Arda (a cop fresh out of the academy), are led into a dark abyss of guilt and shame. Mehmet Cerrahoglu as the leader of the cult, Baba, is another standout; utilizing his interesting look as his greatest asset in character building, and backing it up with disturbing glee.

7

‘Angst’ (1983) — Austria

Image via Les Films Jacques Leitienne

How does an institutional system, such as the one that governs prisons, know when an individual/inmate has served their time and is properly rehabilitated and ready to re-enter society? That’s one of the major questions posed by director Gerald Kargl in the harrowing, ultra-disturbing Angst.

The story is loosely based on an actual murder case, involving real-life serial killer Werner Kniesek (portrayed here as K, by Erwin Leder). He killed someone, only had to serve ten years, and then was sprung onto an unsuspecting public. He subsequently took a family hostage and murdered several of them. Obviously, the real horror of this story makes it terrifying. The way Kargl depicted it in Angst, utilizing POV shots from the killer’s perspective, made this tale even creepier and more unsettling. Another, rarely used device: the audience is treated to the killer’s internal thoughts, as voice-over plays during a lot of the vicious action. The film’s commentary is interesting too, as it is clear that the murderer is mentally ill. Angst raises a salient question: “Are we giving sick people the help they actually need?” — all while scaring the heck out of the audience.

6

‘The Long Walk’ (2019) — Laos

Image via Yellow Veil Pictures

The Long Walk has the unique distinction of being directed by Laos’s first female horror director, Mattie Do. What may not be as publicized is the nuanced way in which she tackles issues of loss, guilt, separation, and the difficulty of moving on. It’s an aesthetically beautiful, often morose tale. Using supernatural aids to convey messages related to the stages of life all people experience (youth, old age, death), this is a special film indeed.

The movie is segmented into two time periods: the present, and five decades prior. In the modern era, the protagonist, played by Yannawoutthi Chanthalungsy, is a bitter old man (and that literally is his character’s name). He’s laconic and somber, and one gets the sense that he is obsessed with the past. Lucky for him, he is able to see and communicate with a ghost (Noutnapha Soydala) that allows him to travel back in time (kind of like a very depressing Back to the Future). His goal is to prevent the death of my mother, which is the one tragic event that he believes led to his glum existence. The huge existential question raised then is this: if he can save her, and his life is improved, what difference does that make in the end? Does that take away the pain he’s already felt? These queries and various other mind-trips leave the audience pleasantly head-spun after viewing this wonderful, haunting work.

5

‘Good Manners’ (2017) — Brazil

Image via Imovision

Good werewolf movies can be a real howwwlll. Same-sex love story werewolf movies can be even better. Good Manners is about a woman, Clara (Isabél Zuaa), who is hired by another, wealthy woman, Ana (Marjorie Estiano), to help raise her imminent child. On full moons, though, Ana wolfs out, and things get rather hairy.

When Ana attempts to deliver her baby, it happens to fall on the lunar cycle of, yup, a fully waxed moon. Ana doesn’t survive the birth, but luckily her offspring Joel does. Flash forward seven years, and Clara is still caring for the fanged rug rat. Writer-Directors Marco Dutra and Juliana Rojas’s furry fantasy is captivating for a slew of reasons. They tease out the initial mystery of just what Ana is in a wry, engaging way. Interestingly, when the narrative shifts to Clara being the half-feral kid’s caregiver, the story becomes more of a coming-of-age one; a reckoning of how to deal with life’s changes and the challenges of an adoptive family. For a sub-genre that can often just be about bloodlust and excessive shedding, this film deals with topics of race, class, and intimacy in a rather sophisticated, poignant way.

4

‘Vampir’ (2021) — Serbia

Image via Alarm Pictures

Can you ever really go home? That’s what exceedingly ambitious auteur director, writer, and star Branko Tomović speculates about in Vampir. Laden with some of the coolest, folkiest imagery in films from the Balkans, this stunning work makes this list because of the heady themes raised by Tomović. These include the immigrant experience, and, conversely, what it’s like to return to your native country and feel like a stranger in a strange land.

The plot focuses on Arnaut (Tomović), a prodigal chap who comes back to visit his village. He doesn’t even speak the language, so he feels a thick sense of alienation right at the onset. When tales of ancestral vampires (real humans who drank blood during the 18th century) begin to seep into the present, Arnaut begins to regret his choice in Expedia destinations. Overall, the film is a dark, brooding, very vibe-y piece that strikingly scares and deviously delights in equal measures.

3

‘Pensive’ (2022) — Lithuania

Image via Cinedigm

Proudly proclaiming itself the “first Lithuania slasher movie,” Pensive does not seem that necessarily groundbreaking out the gate. It does deliver all the juicy tropes of a slasher with aplomb, but only later in the film, with the reveal of some truly unexpected twists, does this movie really become noteworthy. Director Jonas Trukanas takes the audience on a devilishly fun, ultimately unexpected ride. It begins in the traditional “dumb kids partying awaken evil wrath” manner, but things shift, and the protagonist that emerges is an anti-hero whose morals rival Tony Soprano’s.

What kicks off the action in Pensive (also titled We Might Hurt Each Other in English — and Rupintojelis in Lithuanian, obviously), is when the partiers desecrate some wooden, religious figures in the forest. This, naturally, causes Algis (Marius Repšys), the manifestation of vengeance born of cultural disrespect, to start picking off the kids like pesky gnats. The aforementioned protagonist is Marius (Šarūnas Rapolas Meliešius), an envious dweeb who starts off kind, then undergoes some “changes,” and eventually uses Algis’ killing spree to leverage things in his own festering favor. Things end in a very clever subversion of the slasher sub-genre, as the audience is left with some interesting head-scratchers (hence the title)…and a warped sense of “justice.”

2

‘Kuroneko’ (1968) — Japan

Image via Toho

There’s something very satisfying about revenge stories, especially when the perpetrators of the initial sins are real jerks. This is the case with Kaneto Shindō’s little-seen but amazingly conceived, shot, and edited Japanese horror gem Kuroneko (aka Black Cat). The story is about two women (Kichiemon Nakamura as Gintoki and Nobuko Otowa as Yone) who are abused and murdered by mercenary samurais (“swords for hire”). The women’s spirits come back to exact revenge…but in the form of fantastically devious, ebony-coated felines. Me-ow.

Relying heavily on Japanese folkloric myths and allegorical figures (featuring the “God of Death, for one), this hidden jewel in the Japanese horror catalog is atmospheric, thrilling, and ultimately relays pressing themes of equality and justice. Every frame of this movie has a ghastly, but somehow beautifully ghostly, quality to it. Plus, it’s always fun to watch slinky little cats killing people.

1

‘A Dark Song’ (2016) — Ireland/Great Britain

Image via IFC Midnight

A big theme for horror films in general is guilt, with a capital G. This harsh, cloying emotion can cause even the most staunch protagonist to take excessively extreme measures. That’s precisely how Liam Gavin’s A Dark Song unfolds, as the lead character, Sophia Howard (Catherine Walker), grieves so much for her son that she will do seemingly anything just to communicate with him again. Enter a reluctant occultist, Joseph Solomon (Steve Oram), who eventually takes Sophia on as a “client.” The two of them venture to a secluded house and then the (dark) magic begins — and doesn’t end for a long, long time.

Packed with torturous scenes and head-spinning set pieces, this mostly contained, budget-conscious film explores the very depths of the human soul, and what we are willing to do to get what we want (Sophia, ultimately, craves revenge against the dastardly bloke who took her son from her). Walker gives a dynamic, melancholic, deeply-layered, and at times, touching performance — and Oram delivers one that is laced with surprises. Gavin creates a scary, freaky, and often all-too-real ambiance (even when dealing with rapacious demons). When it comes to the characters’ feelings of regret, loss, and vengeance, there’s nothing particularly “lucky” about this Irish film.

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A Dark Song

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Release Date

April 28, 2017

Runtime

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100 Minutes

Director

Liam Gavin

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Writers

Liam Gavin

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  Catherine Walker

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  Sophia Howard

• 
• 

  Mark Huberman

  Neil Hughes

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  Susan Loughnane

  Victoria Howard

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As you get older, finding a foundation that doesn’t sink into fine lines is a real struggle. Unless you’re Jane Fonda, who swears by a drugstore staple to keep her skin looking luminous and fresh.

According to InStyle, Fonda’s longtime makeup artist, Shawnelle Prestidge, calls the L’Oreal Paris Age Perfect Radiant Serum Foundation with Broad Spectrum SPF 50 “the key” to the actress’ flawless beauty looks, especially as she’s gotten older. While many foundations accentuate lines and wrinkles, this one was specifically developed for women over 50 to help them look — and feel — confident and beautiful.

Get the L’Oreal Paris Age Perfect Radiant Serum Foundation with Broad Spectrum SPF 50 for $21 at CVS! Please note, prices are accurate as of the publishing date but are subject to change.

Related: Kelly Ripa Uses the $20 Serum That Shoppers Say Results in ‘Fewer Fine Lines’

Kelly Ripa isn’t just casually name-dropping her skincare — she’s fully sold on it. The one product that she claims has “changed her entire routine?” The L’Oreal Paris Revitalift Triple Power Age-Defying Face Serum. The 53-year-old TV host and L’Oréal Paris partner recently shared on Instagram that the serum has been the “skin savior of […]

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One of the most important things to look for when selecting a foundation for mature skin is the finish. Matte formulas tend to feel dry while drawing attention to every line and crevice. Radiant formulations, like this L’Oreal Paris favorite, do much more than simply cover your face.

The Radiant Serum Foundation actually functions like a makeup-skincare hybrid, flooding skin with extra hydration, thanks to vitamin B3, niacinamide and sodium hyaluronate (a more hydrating version of hyaluronic acid). These ingredients keep skin comfortable and soft, while evening out tone with buildable, radiant coverage. Plus, you get an extra dose of sun protection with the SPF 50 in the formula

Fonda is far from the only fan, though. This formula has become a holy grail product for women ages 40 to 90, with one happy CVS customer even calling it a “masterpiece” for mature skin.

“I am 49, and after going through early menopause, my skin changed almost overnight from very oily to profoundly dry,” the reviewer wrote. “This foundation has been my constant. It is the only formula that truly understands my skin in its current chapter. It doesn’t settle into lines, exaggerate pores, cling to dryness, or leave that heavy, aging look that so many products do. Instead, it becomes one with the skin — natural, smoothing, radiant, and somehow still offering remarkable coverage.”

Your makeup shouldn’t make aging feel like a chore. With the L’Oreal Paris Age Perfect Radiant Serum Foundation with Broad Spectrum SPF 50, you’ll be able to embrace each era of your life feeling and looking your best — just like Jane Fonda.

Get the L’Oreal Paris Age Perfect Radiant Serum Foundation with Broad Spectrum SPF 50 for $21 at CVS! Please note, prices are accurate as of the publishing date but are subject to change.

Looking for something else? Explore more from L’Oreal Paris here and more radiant foundations here! 

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Related: Jane Fonda Uses This Serum That Users Say ‘Fills the Wrinkles’

At 88, Jane Fonda isn’t just aging well — she’s redefining what great mature skin can look like. Her complexion is consistently smooth, luminous and full of that unmistakable vitality, with a firmness and radiance that doesn’t rely on heavy makeup or over-the-top treatments. Naturally, when someone’s skin looks that healthy and refined at her […]

The tribe has spoken, and America has an official winner of Survivor 50.

Warning: Spoilers below for the finale of Survivor 50.

After weeks of shocking tribal councils, immunity idols and game play, host Jeff Probst announced the Sole Survivor during the Wednesday, May 20, live finale.

Following an intense Q&A with the finalists, the jury cast their votes and declared Aubry Bracco was the winner of season 50 and deserving of $2 million (and a brand-new Toyota Land Cruiser). Jonathan Young was the runner-up while Joe Hunter made the finals but received zero jury votes.

Related: ‘Survivor’ Winners Through the Years: Where Are They Now?

It’s not an easy game — but someone’s got to play it! Survivor has maintained its status as a fan favorite and ratings juggernaut for CBS since its debut in 2000. The reality series, which awards one sole Survivor the $1 million each season after lasting 39 days outside, has come a long way over […]

“I have come in second place, gone deep scrapping, flopped really hard with an idol in my pocket,” Aubry shared after her win. “But I came back and I was more intuitive. I trusted myself. I moved differently and most importantly, I learned from the incredible players and winners before me.

The three-hour event kicked off with Rizo Velovic, Tiffany Ervin, Jonathan, Joe, Aubry making it to the final 5. When it was time for the jury to vote, however, only three contestants remained.

Eliminated contestants Rizo and Tiffany joined Dee Valladares, Chrissy Hofbeck, Benjamin “Coach” Wade, Christian Hubicki, Stephenie LaGrossa Kendrick, Emily Flippen, Ozzy Lusth and Rick Devens as the jury members who had the responsibility of picking a winner for the season.

Survivor kicked off its 50th season in February with legendary players from the past returning to battle it out once again for the title of Sole Survivor.

Before the premiere, many contestants spoke exclusively to Us Weekly about how they prepared for another chance at the iconic game.

“I’d say I’ve been preparing since the Edge of Extinction ended. I’ve done a lot of work on myself,” Aubrey told Us. “I’ve had a baby. My perspective on life … I’m a lot more grounded. I’ve done a lot of self reflection. I’ve been working out, meditating, listening to a hell of a lot of podcasts about all these characters. I’ve been studying. I’ve been [doing] my Survivor homework. It took a little break, but I caught up and I’m ready to go.”

Jonathan also admitted to doing his homework before competing against some of the best players to ever appear on Survivor.

“I’ve studied the players. I know what they’ve done, why they’ve done it, at least as much as I can,” he said. “There’s Rick Devens, Charlie [Davis] and Dee, all three of them are here, and all three of them are big targets.”

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While season 51 of Survivor is coming soon to CBS, some fans may wonder just how long Jeff can host the beloved reality show.

When speaking to Us, the Emmy winner said he hopes the show can last forever — with or without him leading the tribal councils.

“My blood is in this show, right? I literally bled for this show for nearly three decades,” Jeff shared. “But 100 percent, this is not me saying something politically correct. The show should last forever, because the format is just an incredible format.”

Survivor host Jeff Probst scrambled to quell a backlash among viewers after he accidentally spoiled a challenge result during the season 50 finale.

“I love doing live television,” Probst, 64, joked as he tried to explain himself during the live finale on Wednesday, May 20.

Moments earlier, viewers watched Aubry Bracco win the final immunity challenge and then save Joe Hunter, thereby sending Rizo Velovic and Jonathan Young into the fire-making challenge by default. (The iconic fire-making challenge was used to determine who would join Bracco, 40, and Hunter, 46, in the climactic Tribal Council.)

In one of the finale’s live segments, Probst called over Velovic, 26, to chat about how intimidating the fire-making challenge can be.

Probst was throwing to a commercial break when he off-handedly referred to Velovic as “the final member of our jury.” The host seemed confused and the audience fell silent, as Probst had mistakenly spoiled the result of the fire-making challenge before it aired.

“What just happened?” Probst asked.

“They haven’t seen the fire,” one contestant shouted, with Velovic clarifying, “Fire hasn’t happened yet.”

The audience started to groan as Probst admitted, “I’m not even sure what happened but up next, we’re going to have one final surprise for the players.”

Survivor fans were aghast that Probst had accidentally spoiled one of the most anticipated challenges in the show’s history.

Related: Jeff Probst Breaks His Silence on Rumors ‘Survivor’ Edited Celebrity Cameos

Jeff Probst addressed rumors that Survivor edited the celebrity cameos in season 50 following backlash from fans. “Absolutely, unequivocally false,” the longtime Survivor host, 64, said in an interview with Variety published on Wednesday, May 13. “We’re a month and a half ahead in episodes. We don’t edit week-to-week. We’ve changed nothing.” Earlier this season, […]

“50 seasons into Survivor, Jeff Probst just spoiled the result of the biggest climax of the finale… live on the air, during the finale,” one viewer wrote via X on Wednesday. “I can’t believe we just witnessed that. What do you mean it’s live with NO DELAY.”

Another fan was equally as disappointed, writing, “Jeff spoiling his own show… oh grandpa it’s time for bed.”

“Jeff intentionally spoiling the outcome at the live reunion so that he’ll never have to do another one ever again,” a third viewer joked.

Once Survivor came back from a commercial break, Probst tried to explain to viewers exactly what went wrong.

“In case you’re confused, this is what happened,” he began. “We were going to show you fire-making and then have the loser of fire-making, Rizo, come out and talk about if he had practiced fire-making maybe he would’ve won. Instead, we did a Survivor twist, it’s the last twist of the season. We call it, ‘A peek into the future.’ So now, we’re going to watch Rizo lose in a fire to Jonathan.”

The error reignited speculation among fans via social media over whether it might be time for Probst to retire as Survivor host after 50 seasons.

Speaking exclusively to Us Weekly ahead of the launch of season 50, Probst said that he hoped to remain involved with Survivor for a long time to come.

“We stay inside the tiny little box that is the format of Survivor, but once you step inside that tiny little box, you realize the space is enormous,” Probst explained. “You can try all kinds of things. So, for instance, if you hired a different type of person to host, and then you brought in a different type of person to produce, and you took their different points of view, it seems likely that the show would go in a completely different direction.”

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He added, “I really do think it goes on, and I hope that even if I’m not hosting, maybe there’s a way I can, you know, still be involved because I love this show.”

While the fire-making challenge was spoiled, Survivor viewers were able to watch the final Tribal Council play out as intended. Bracco won the $2 million grand prize and a brand-new Toyota Land Cruiser after defeating Young and Hunter in an 8-3-0 jury vote.

Survivor airs on CBS.

It’s been three years since we saw the fourth and final season of Prime Video’s Jack Ryan, and according to series star and executive producer John Krasinski, even with A Quiet Place Part III now underway, he still hasn’t been able to let go of the CIA analyst fully. “I never felt good about leaving the character behind,” he tells Collider’s Steven Weintraub in an interview for Tom Clancy’s Jack Ryan: Ghost War, the streamer’s upcoming spin-off movie.

Ghost War, directed by Andrew Bernstein from a screenplay co-written and produced by Krasinski, thrusts a reluctant Jack Ryan back into the world of espionage. After a covert international mission reveals a deadly conspiracy underway, Ryan must now confront a rogue black-ops unit that seems to know his every move. To best their enemy, Ryan, CIA operative Mike November (Michael Kelly), and their former boss James Greer (Wendell Pierce) team up with Emma Marlow, Sienna Miller’s whipsmart M16 officer, to unravel this intricate web of betrayal.

Don’t miss Collider’s interviews below, where Krasinski, Kelly, and Pierce discuss the move from a TV series to a feature-length return, and why a movie was the right choice to continue Jack Ryan’s legacy, opening up the universe to a whole new audience. The trio talks about “one-upping” the show in terms of scope and spectacle, and Krasinski and Pierce break down the scene that Pierce calls “one of the highlights” of his career. Don’t miss our conversation with Bernstein, as well, where he discusses Ghost War’s record-breaking car chase and more!

John Krasinski Is Ready to Close His Chapter With ‘A Quiet Place 3’

Kelly also shares an exciting tease for Taylor Sheridan fans.

Image via Paramount Pictures

COLLIDER: Before we jump into Jack Ryan and my silly questions…

JOHN KRASINSKI: Dunkin’ Donuts.

Oh, we’re getting there. Don’t worry.

KRASINSKI: Great. [Laughs]

Exactly. Michael, individual for you. I’m a fan of Lioness. Are you a part of Season 3? What can you tell people?

MICHAEL KELLY: I am, yes. We have completed it, and I don’t know for sure, but I think it’s somewhere around the end of the summer, probably, it’ll come out. It’s really good, man. Really fun.

John, I am a fan of these movies called A Quiet Place. I think you’re involved with them. I’m curious, when do you start filming the third one? What do you want to tell fans about it?

KRASINSKI: We start filming one week from today, and this is how nervous and stressed out I am. So I’m glad to be distracted because, yeah, it’s a lot. We’re so excited. Listen, I’m just really excited that I’m being given the chance to close out my chapter. This was always seen as a trilogy in my head. I just wanted to figure it out in an organic way, and I think we have.

One other thing before we get into Jack. Disclosure Day is coming out this summer, as you guys know. I think John’s aware. For each of you, do you have a favorite Spielberg?

KRASINSKI: Without a doubt, it has to be Jaws for me, because for me, Jaws changed my life in every single way cinematically, in not only how exciting and thrilling a movie can be, how brilliantly a movie can be shot, but also script. I think that that movie doesn’t get given as much due as it should as a script, because it’s such a huge, massive hit movie, but the truth is, I always turn back to it to look at how relationships, especially between three people, are really done.

WENDELL PIERCE: Schindler’s List. Yeah. Man, that…

KRASINSKI: That is the review of everybody for Schindler’s List. “Yeah. That is…”

PIERCE: I am haunted by the little girl in the red coat. That movie really just nailed me to my seat in the theater for a good 20 minutes afterwards. I couldn’t even stand. It was just so impactful.

KELLY: It’s a tough one. I think that he is our greatest storyteller. I’m not going to say filmmaker or whatever. He’s our greatest storyteller. But for me, I would go Jaws, too, just because I remember visiting my family, my dad’s brothers and sisters, and all the cousins, we all got together, and we saw the movie. We were staying at the shore, at the Jersey shore, and I just remember the impact that it had on me as a kid. And of course, watching it later, you realize how great it is, but at the time, to see it and just be like, “Oh my god,” like, it killed me. It killed me for many summers.

Coming to the most important subject: John, this is for you. True or false: You moved back to New York City so you could live next to a Dunkin’ Donuts?

KRASINSKI: That is true. Yeah. I usually dictate most of my movements with Dunkin’ Donuts.

You guys, you won’t understand. This is a 20-year joke between the two of us.

KRASINSKI: It’s true. It was our first interview. Literally.

Yeah, it’s 20 years. So I guess the next most important thing is, did you put a scene on Emirates first class so you guys could all get first class for life on the airline?

KRASINSKI: I wish I could say yes, but I don’t think it’s for life. Definitely for that one flight. But I will tell you that what you see in that scene is not Mike November. That’s just Michael Kelly in first class. This dude grabs every freebie. I think he had six eye masks and 14 glasses of champagne on that one flight.

I like how he’s laughing and not denying it.

KRASINSKI: Correct!

KELLY: [Laughs] Whatever, man. It’s a good time.

KRASINSKI: “They’ve got a shower?!” “Oop, Michael’s on the plane.”

John Krasinski Reveals Why He “Never Felt Good” Leaving Jack Ryan Behind

The trio discuss why it was time for a Jack Ryan movie.

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All three of you have done action before, and I’m just curious, which of you was the first one to quote the great Danny Glover and say, “I’m getting too old for this shit,” making this, and was it a sequence or a stunt?

KRASINSKI: That’s really good. Who was the first? I usually live by that quote. I think on this one, what I have learned in my elder wisdom is stretching because, weirdly, where I’ve gotten hurt the most on this show is going from a standstill to a sprint, which you think I would have been able to figure out by now, but nope. It’s usually like, “John, we’ll be ready after lunch.” “Sure. No problem.” And then when we go, it just immediately quads out. I basically can’t walk for two weeks after I do one running scene.

Jack Ryan is a world-class data analyst. If he had to look at the Dunder-Mifflin quarterly reports, would you find a global conspiracy, or would he realize that Kevin Malone is a genius?

KRASINSKI: [Laughs] Why can’t it be both? Why can’t Kevin Malone be behind a global conspiracy?

You’ve added Sienna Miller to this cast as Emma Marlow. On a scale of one to Greer’s grumpiest morning, how quickly did she realize that the three of you are essentially a traveling comedy troupe disguised as CIA?

PIERCE: Almost immediately, so does that make it 10 or 1?

I don’t actually.

KELLY: The funny thing is that she actually became part of that within an hour.

KRASINSKI: She’s the funniest human.

KELLY: She’s so funny.

KRASINSKI: Oh my god.

Image via Amazon MGM Studios

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Being serious, Jack Ryan as a TV show accomplished so much with huge action and spectacle, but John, I am very curious, you co-wrote the screenplay, so what was your goal in making the movie? What did you want to accomplish in this that hadn’t been on the TV show?

KRASINSKI: For me, I was going through exactly what Jack’s going through at the beginning of the movie, which is saying you’re done with something and not being quite sure you were. And so when I said that the show was ending and that I was moving on from that, I never felt good about leaving the character behind because I’ve always loved playing the character.

Then, as far as what we were trying to achieve, I think that there’s a whole new audience that we’re excited to reach that maybe haven’t seen the show. I think that Jack being pulled back into the CIA is very similar to Season 1, when he’s just coming into the CIA back then. So, for me, we never wanted to go near the movies without being extremely respectful, and I think that because of these relationships, we were able to do it. So, I do think that it became 10 times more intense and 10 times more action-packed, and weirdly, therefore, maybe 10 times more fun to shoot.

KELLY: Yeah. I’ve always been a fan of the show. I’ve loved the show. I watched with my kids and my wife. We actually really love it, and I knew this film would be great. Then, when John gave us an early sneak peek at it, I was like, “Oh my god.” It blew my expectations away. I was like, “Wow, we really one-upped the series,” and that’s a tough thing to do, but we did it.

PIERCE: What I look forward to is the fact that this is a standalone movie. If you haven’t seen any of the four seasons, you can still come into this, and it has the impact. So, I’m looking forward to the new group and pool of fans that we’re going to create with this movie.

This ‘Ghost War’ Scene Is “One of the Highlights” of Wendell Pierce’s Career

“I’ve always thought that Greer’s being demoted was such a wonderful opportunity to delve into that storyline.”

Image via Amazon MGM Studios

There’s this great scene of Jack and Greer in the MI6 office, and they’re arguing over the way intelligence is gathered. Greer says, “There are people in the world who kill the monsters, so you don’t have to.” John, I don’t know how much you wrote that scene specifically, but talk about how important it was that the audience feels that both people are making a valid point. For the two of you, what is it like actually preparing for a scene like that, where there’s a lot of dialogue and a lot of emotion, and you need to make the audience feel that both of you are right?

KRASINSKI: Third part first. You were asking before about how to make the move to the movie. To me, I’ve always thought that Greer’s being demoted was such a wonderful opportunity to delve into that storyline at some point, because not only was he put in a very difficult position, but he’s also carrying this with a great deal of guilt, and that there’s a burden to him with that. So I always knew that that would be a really interesting thing to tap into for the movie.

I also will say, and again, he’ll react however he reacts — I know how he’s going to react — but Wendell is one of the greatest actors I’ve ever seen, let alone had the opportunity to work with, so I knew that in moving from the television show to the movie, the key was going to be he and I not only having the forefront of the story at a lot of times, but also at some point, like brothers, like family, we would have to defend each other’s sides. Because the truth is, like most things in life, he was just doing the best he could. And I love the idea that Jack is so set in his ways about black and white that he didn’t see that sometimes people are just doing the best they can, even if they make a mistake, or even if they do something that they regret.

PIERCE: For me, that scene was one of the highlights, not of just the movie, but of my career. To do that scene with John was like the culmination of everything that our relationship has been over the four years of the show. Then also, his writing in it actually examines and really memorializes the discussions going on and the debates that go on in the intelligence community, and it’s the checks and balances that they go through to stay true to that true north, and hold themselves accountable and hold each other accountable.

Starting the research of this, going all the way back to when it began, meeting the different offices and consultants that we had on the show, it was always very important for us to examine the personal journeys that they’re on to make sure that it’s reflected in the work. There were so many times where I’ve challenged even the officers who are actually friends of mine now on why they were a part of the intelligence community and what was important to them, and why is the mission important to them? And what they’ve all told me is to understand that it’s a time and a place for you to exercise your right of self-determination and actually do the things necessary to make this world, this country, your home, the place that it can be, and ultimately, we all dream of.

So, that’s what’s reflected in that scene. It’s two men who are holding each other accountable and reminding each other what’s important to them and what their values are, and then, “How are we going to go out and act on those values? Be careful and take heed of what you do, there’s accountability.” And that’s what I love about the scene.

‘Ghost War’s 14-Minute Car Chase Broke Records

Krasinski says this action sequence is why he “fell in love with movies to begin with.”

Image via Amazon MGM Studios

There is a massive action set piece that’s 14 minutes in central London, this massive spectacle. Can you talk about filming that sequence? Is something like that, for you guys, a huge pain in the ass or an example of why you have the best job on the planet?

KRASINSKI: The latter.

PIERCE: The latter, absolutely.

KELLY: 100%.

KRASINSKI: I think that that also is a perfect example of how this business looks like it’s just a bunch of people in front of a camera and then a couple of people behind the camera shooting those people, and it’s a huge ocean of talent and people. That particular sequence took not only hundreds and hundreds of people doing absolute perfect, A work, but also months and months of preparation and a lot of partnerships and a lot of people believing — that’s a big, scary thing for a city to do, and believing that we were going to be true to our word and not hurt anybody and not hurt the city. I think it’s the first car chase in London in over 20 years. And I’m pretty sure it’s the fastest London’s ever let anyone go in a movie, speed-wise, as far as that car chase. For me, I genuinely saw that scene as this is not only why I’m proud to be in the movies myself, but why I fell in love with movies to begin with.

PIERCE: Yeah, it was an adventure for me to be in the center of that. It was like riding a rocket ship, you know? It was like being on the hood of the car, having my stunt driver, Bobby, controlling it from the boot, as they say in London, it was so exciting. I’ll never forget the first day I got there and I said, “Okay, so we have a couple of people there, and we have a couple of people there,” and the stunt coordinator said, “No, Wendell, everything and everyone you see, we control in this Parliament Square.” And that’s when I realized the depth of expertise. It was like it was my Artemis II. I was riding the rocket. It was my Artemis II.

‘Ghost War’ Takes Audiences to All-New Locations With Higher Stakes

Director Andrew Bernstein discusses his practical approach to the action-packed script.

For Tom Clancy’s Jack Ryan: Ghost War, Amazon MGM Studios tapped filmmaker Andrew Bernstein to bring his expertise from the series to the first Jack Ryan feature. Bernstein is an Emmy Award-nominated producer and a director best known for his work on hit shows like The West Wing, Ozark, Fear the Walking Dead, Foundation, and It: Welcome to Derry. Bernstein is reported to reunite with Krasinski, opposite Matthew Rhys, for Amazon and Prime Video’s thriller series Silent River.

In this interview, Bernstein discusses continuing Jack Ryan’s legacy of taking its audiences on location to some of the world’s most stunning cities and landscapes to capture the authenticity on screen. He talks about choosing London and Dubai, how early test screenings guided their editing process, and the complex process the 14-minute car chase required to film in Central London for the first time ever. Bernstein also discusses avoiding the “easy way,” keeping his vision for the film as practical as possible, wherever the script and studio allowed, and all the techniques they employed to do so.

• 00:11 – Andrew Bernstein comments on Silent River with John Krasinski.
• 00:31 – The filmmaker revisits his time on The West Wing.
• 01:50 – Bernstein discusses deciding on locations to film for the movie.
• 03:02 – How test screenings guided early edits of Ghost War.
• 04:02 – Ghost War shut down Central London for the first time ever.
• 05:39 – Bernstein talks about staying true to his practical vision while filming.
• 06:34 – Everyone on set was game for Ghost War’s wildest sequences.

Tom Clancy’s Jack Ryan: Ghost War is now streaming on Prime Video.

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Release Date

May 20, 2026

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Runtime

105 Minutes

Director

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Andrew Bernstein

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Animated sci-fi comedy Rick and Morty has gained a strong following in its over 10 years on the air, becoming one of the most well-known shows currently running. Following the interplanetary adventures of genius yet nihilistic scientist Rick Sanchez and his grandson Morty Smith (both previously voiced by the now-fired Justin Roiland), the series has deeply explored many sci-fi concepts.

This ranges from comedic movie parodies to grander and more emotionally potent storylines about the characters’ interpersonal dynamics and Rick’s tragic backstory. Fans are often in discussion about the series’ highlights, with plot-driven episodes usually being fan favorites, making these audience-rated episodes the best on IMDb. Especially with the recent release of the eighth season, there’s no better time than the present to reminisce on the best that the series has to offer.

35

“The Whirly Dirly Conspiracy” (Season 3, Episode 5)

IMDb Rating: 8.4/10

One of the few episodes that explores the underrated dynamic between Rick and his embarrassingly inept godson, Jerry, “The Whirly Dirly Conspiracy” sees the duo on an easygoing vacation at the request of Morty, worried about his father’s mental health. However, as they attempt to have fun at this intergalactic resort where it is impossible to die, an enemy from Rick’s past attempts to coerce Jerry into helping him murder Rick.

The prominent hook in this episode is just how much it gives depth and layers to the aggressive relationship and dynamic between Rick and Jerry, giving meaning and understanding to their anger towards one another, and ending in a place of slight unexpected respect. It also helps that, as two of the most polar opposite characters in the main cast, they have a lot of comedic chemistry that is further amplified by the absurdity of the journey that they embark on.

34

“Big Trouble in Little Sanchez” (Season 2, Episode 7)

IMDb Rating: 8.4/10

Image via Adult Swim

While many people are quick to point to the comedic fun and goofy nature of Rick transforming himself into a teenager and proclaiming himself “Tiny Rick” in the episode “Big Trouble in Little Sanchez”, the real greatness of the episode comes from its B-plot following Beth and Jerry. In this side plot, the married couple travels to an intergalactic couples therapy resort designed to fix their relationship. However, it soon goes wrong when the physical manifestations of their perceptions of one another begin to destroy and take over the entire resort.

“Big Trouble in Little Sanchez” is arguably the greatest episode in the series when it comes to the examination and portrayal of Beth and Jerry’s troubled relationship. It doesn’t shy away from the toxicity and blatant misalignment that they have with one another, yet it simultaneously shows that their connection in a way transcends norms and critical thinking, and that love is much more than a hard science. It also helps that both Tiny Rick and XenoBeth are some of the best one-off villains that the show has ever seen, ironically, both appearing in the same episode.

33

“Ricksy Business” (Season 1, Episode 11)

IMDb Rating: 8.4/10

The first-ever season finale of the series, “Ricksy Business,” plays it much more relaxed compared to the season finale that would come, but simultaneously leaves on a compelling note that would have worked as an effective final moment if the series hadn’t been picked up for additional seasons. The episode sees Morty and Summer attempt to throw a house party while their parents are out of town, only to be one-upped by Rick attempting to throw an intergalactic party at the exact same time.

There’s a lot of inherent fun in the prospects of an unrestrained galactic house party and its constant clashes with a traditional high school party, even despite the various high schoolers seeming to be unfazed at the madness all around them. This only gets supercharged when the house ends up being transported to an alien planet. Also, many of the iconic members of Rick’s friend group make their debut in this episode, including fan-favorite characters like Birdperson and Squanchy.

32

“That’s Amorte” (Season 7, Episode 4)

IMDb Rating: 8.4/10

Image via Adult Swim

“That’s Amorte” is the perfect example of how the modern era of the show is still able to conjure up strange and deeply disturbing concepts for an episode that simultaneously leads the way to brilliant emotional moments that are only possible with such unrestrained creativity. The episode sees a foreign planet where humanity’s insides turn into spaghetti after they commit suicide. While Rick and Morty initially want to stop eating the spaghetti, the miraculous taste soon has them coming back for more, with the entire planet’s economy soon transforming to make mass profit out of their own suicidal populace.

There are several distinct strengths that make this episode a standout experience from the recent episodes, from the dark absurdity of its premise to the absolute dystopian extremes that it takes once the planet becomes aware of its own delicious corpses. However, the singular moment that amplified this into being a fan-favorite is the tearjerker final montage, seeing a man’s memory of his full life set to an exceptional cover of Oasis’s “Live Forever.” It’s one of the best moments in the entire series and almost single-handedly elevates the entire episode.

31

“Analyze Piss” (Season 6, Episode 8)

IMDb Rating: 8.4/10

Image via Adult Swim

Annoyed by fighting an endless string of gimmick-themed villains, Rick voluntarily seeks therapy to understand why he attracts such attention in “Analyze Piss.” Rick tries to avoid encouraging more imitators, so when a urine-themed villain named “Pissmaster” shows up at the Smiths’ house, Jerry surprisingly gets involved to defend Summer’s honor. After Jerry wins the fight, he becomes a famous hero, leaving Rick to sort through his emotions about the shift of attention.

Rick and Morty always manages to subvert expectations, making an episode with a title like “Analyze Piss” into one of the more emotionally profound entries of the series. Rick demonstrates growth by empathizing with the Pissmaster, and after relating to the pain in the villain’s life, finds satisfaction from (almost) anonymously redeeming him in the eyes of the public. A mixture of absurd and tragic, “Analyze Piss” takes a ridiculous concept and humanizes it with a complicated exploration of pride. —Brad LaCour

30

“Look Who’s Purging Now” (Season 2, Episode 9)

IMDb Rating: 8.5/10

Image via Adult Swim

Rick and Morty make a pit stop in a quaint town just in time for the planet’s night of consequence-free violence and mayhem in “Look Who’s Purging Now.” Rick’s decision to stay and watch a little bit of purging causes the pair to get involved when Morty demands they intervene to save a cute female alien. After their help backfires and leaves them stranded, Rick calls in a weapon upgrade from Summer that brings out a new and violent side of Morty.

Morty is usually the one operating from a moral high ground, so seeing him quickly transform from frightened victim to a blood-lust-crazed murderer is even surprising to Rick. “Look Who’s Purging Now” is an action-packed episode that uses its The Purge-inspired plotline to move quickly while exploring the corruption of a ruling class and the alternative chaos without its existence. The B-plot involving Jerry has some bright spots as well, especially when it’s revealed why he wants to spend time with Summer. —Brad LaCour

29

“Auto Erotic Assimilation” (Season 2, Episode 3)

IMDb Rating: 8.5/10

Image via Adult Swim

Rick runs into an old flame when he answers a distress call with Morty and Summer in “Auto Erotic Assimilation.” Rick’s ex, Unity (Christina Hendricks), is a hive-mind organism who has assimilated an entire planet into its consciousness after an emotionally wrought breakup with Rick. The two quickly pick up their romance where they left off, leaving Morty and Summer to question the morality of a hive mind while Rick and Unity go on a bender of drugs and sex.

There are hints at Rick’s self-destructive behavior as a symptom of a deeper psychosis, but “Auto Erotic Assimilation” is the first time the viewer sees how deeply depressed and unhappy the smartest man in the universe is. Rick uses chaos as a form of distraction from his pain, but the same tendencies prevent him from establishing the bond he needs to heal from the death of his wife. The plot of “Auto Erotic Assimilation” is effective emotional sleight of hand, directing the audience towards all the outlandish comedy before revealing insight into toxic relationships and loneliness. —Brad LaCour

28

“Solaricks” (Season 6, Episode 1)

IMDb Rating: 8.5/10

Image via [adult swim].

The Season 6 opener, “Solaricks,” dives right into the fallout from the Season 5 finale, showing viewers how Rick and Morty are able to leave the fallen citadel without portal technology. In the process of resetting his portal fluid, Rick sends himself, Morty, and Jerry back to the original dimensions. While Summer works with both Beths to send out a beacon Rick can use for a return, Rick sees the opportunity for long-awaited revenge.

In a series known primarily for consisting of standalone episodes, the decision to resolve lingering plot threads was necessary and gave weight to the stakes the duo faced. “Solaricks” puts one more piece of the Rick and Morty mythos puzzle into place, explaining why this particular Rick “returned” to Beth and set up shop in her garage. “Solaricks” pushes the narrative forward in a meaningful way, answers a few lingering questions, and gives the Smiths an adventure that, for once, bonds them instead of driving wedges. —Brad LaCour

​​​​​

27

“Night Family” (Season 6, Episode 4)

IMDb Rating: 8.5/10

Image via Adult Swim

Rick finds a new device that solves one minor problem but causes an internal rebellion in the Season 6 episode, “Night Family.” Rick allows the family to use a device called the “Somnambulator,” which enables the user to assign unwanted tasks to their sleeping bodies. Quickly, the Smith family passes on all their unwanted chores to their sleeping selves, known as the “Night People,” but when the balance of power isn’t respected, unrest turns into rebellion. As the Night People version of the family attempts to take control of their lives, the waking version of the Smiths must rely on Rick to swallow his pride.

Where a majority of Rick and Morty episodes take cues from science-fiction tropes, “Night Family” has a decidedly more horror vibe, especially in the presentation of the Night People. Summer gets her moment to shine as the leader of the Night People uprising, which gives viewers an insight into how Summer subconsciously feels about the power dynamic in the waking world. Rick and Summer both have strong personalities, and it’s apparent in the events of “Night Family” that, with more confidence, Summer would pose a challenge to Rick. —Brad LaCour

26

“Rixty Minutes” (Season 1, Episode 8)

IMDb Rating: 8.6/10

Image via Adult Swim

Also known as Interdimensional Cable, “Rixty Minutes” goes away with the classic adventure-style format and instead acts as Rick and Morty’s take on a clip show, with the duo sitting down and watching television from across the multiverse. Each channel has its own blend of strange and chaotic humor as they look into what television and advertisements are like in different dimensions. At the same time, the prospect of a universe where Jerry is an acclaimed Hollywood actor ends up creating a crisis between Jerry and Beth, scouring through the multiverse to look at their “perfect universe”.

The clip show Interdimensional Cable gimmick is enough to make this a highly beloved episode, especially with such iconic moments and gags as Gazorpazorpfield, Ants in My Eyes Johnson, and the movie trailer, Two Brothers. However, what elevates the episode above the other times that Interdimensional Cable has been brought back is the emotional core and strength of Jerry and Beth’s characters, being one of the first episodes to truly delve into the struggles of their marriage yet uncompromising love for one another.

It’s safe to say that The Super Mario Galaxy Movie is a blockbuster hit. Sure, it hasn’t yet reached its 2023 predecessor, The Super Mario Bros. Movie, in terms of box office numbers, but the sequel is still the highest-grossing film of 2026. And while this animated Nintendo film continues its theatrical run, this The Super Mario Galaxy Movie can be yours to keep.

The Super Mario Galaxy Movie continues Mario (Chris Pratt) and Luigi’s (Charlie Day) adventures in the Mushroom Kingdom, but their journey takes them out of their world after learning that Princess Rosalina (Brie Larson) is kidnapped by Bowser Jr (Benny Safdie). Alongside the return of Anya Taylor-Joy‘s Princess Peach, Jack Black‘s Bowser, and Keegan-Michael Key‘s Toad, the Mario sequel also introduces Yoshi, voiced by Donald Glover, and Fox McCloud, voiced by Glen Powell. As of writing, The Super Mario Galaxy Movie has made over $967 million worldwide and has a high 88% audience score on Rotten Tomatoes. However, critics gave it a 42% score.

According to Universal, The Super Mario Galaxy Movie is now available on digital platforms, allowing fans to purchase the hit sequel after its successful box-office run. But if you’re after the physical release, The Super Mario Galaxy Movie will be available on DVD, Blu-ray, and 4K UHD, with a street date of June 16, 2026. Fans who buy the physical movie will not only get the hit 2026 animated sequel, but will also receive bonus content, including the making-of featurette for The Super Mario Galaxy Movie. A streaming release date has not yet been announced.

What’s Next for Nintendo Following ‘The Super Mario Galaxy Movie’?

Nintendo has been making moves lately to bring its IP to the big screen, and it’s not stopping with Mario. Coming out next year is the live-action adaptation of The Legend of Zelda, directed by Wes Ball and starring Benjamin Evan Ainsworth as Link and Bo Bragason as Princess Zelda. At the moment, the plot for this feature has not been revealed. Meanwhile, it was reported that an untitled Donkey Kong movie could be in the works after the project was spotted at the U.S. Copyright Office. Additionally, an official Nintendo document reporting on the company’s 2025 Q2 financial results teased at least two more films coming after The Legend of Zelda, but details and names for those projects have yet to be revealed. However, following the success of The Super Mario Galaxy Movie, it was reported that a Star Fox movie could be on the table.

The Super Mario Galaxy Movie is now available to purchase digitally. Its streaming release date has yet to be announced. Follow Collider for more updates.

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Release Date

April 1, 2026

Runtime

98 Minutes

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Director

Aaron Horvath, Michael Jelenic, Pierre Leduc, Fabien Polack

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Writers

Matthew Fogel

Producers

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Chris Meledandri, Shigeru Miyamoto

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Celebrities sometimes encounter fans whose enthusiasm goes beyond admiration, leading to some pretty bizarre moments. Glenn Powell is sharing one of the strangest encounters he’s had with a fan, and it involved eating photos of the actor’s face.

The woman had been consuming photos of Powell for more than a hundred days before they met face-to-face, and Powell witnessed the odd but memorable act firsthand.

Glen Powell appeared on The Hollywood Reporter‘s “Comedy Actor Roundtable,” along with Owen Wilson, Harrison Ford, Zach Braff, Riz Ahmed, and Yahya Abdul-Mateen II. At one point, the group turned the conversation to their wildest fan encounters.

Powell shared one of the most memorable experiences he had with a fan, who had gone viral online for eating photos of his face. “There’s a woman in London who has been printing out pictures of my face for the last 80 days and has eaten my face every day. Literally will eat my face until I give her a role in a movie,” he said.

The actor said he had no idea about it until he was told at the red carpet premiere of his movie that the woman who was eating his face was there. Braff asked how the fan got red carpet access, to which Powell replied, “That’s what I was like. ‘Guys, come on, this is a real liability.’”

The Actor Signed An Autograph For The Fan

Powell and the fan, Monique, met at “The Running Man” London premiere in November 2025. Prior to that, however, Monique had been documenting herself eating a photo of the actor’s face on TikTok. She started the challenge in June 2025, captioning the post, “Day 1 of eating a 100% edible photo of Glen Powell until he casts me as an extra in one of his movies/tv shows.”

Monique was one of the fans waiting at the red carpet for the movie’s stars, and when Powell approached, she presented his photo for him to sign. While posing for a photo together, Monique tore the paper with her teeth and ate part of the photo, causing Powell to laugh. “This is savage. It’s on now. Now it’s a premiere,” he said, seemingly amused.

Monique captioned the post, “Day 140 of eating a photo of glen powell infront of glen powell.”

Glen Powell Shared Another Fan Story

The “Hit Man” actor shared yet another odd fan story, in which he was asked to autograph his family photo. What he found odd, however, was that he had no idea how the fan could have had access to that particular photo of his entire family.

“So, I’m sitting there like, ‘Where did you get that?’” Powell asked the fan. Ahmed said that was scary, and Ford jokingly asked, “Did they already have the rest of your family sign it and you were the closer?” “I was,” Powell joked back.

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The other actors also shared their own fan experiences, with Ford sharing that he once heard, “‘My mother wants to sleep with you,’ announced loudly in an airport.” Ahmed, on the other hand, was chased by a fan screaming, “That’s not your signature,” after he signed an autograph.

The Actor Refused To Take A Photo With One Person

In 2025, Powell shared that he refused to take a photo with a famous person one time, though he didn’t drop the identity. While on the “Therapuss” podcast, the actor explained that while at a star-studded party, he came across someone who made some of his favorite movies. The two got to talking, and while he was a fan, the person was getting canceled at that time. “I was a fan of their work but not a fan of their choices,” Powell explained.

A photographer then offered to take a photo of them, but Powell politely declined, thinking the person’s face was “toxic,” and he didn’t want to be associated with him.

Glen Powell’s Career Continues To Surge

Powell’s career shows no signs of slowing down. After his recent movies “Twisters” and “The Running Man,” the actor is slated to appear in several films, including Judd Apatow’s “The Comeback King” and J.J. Abrams’ “The Great Beyond.” He is also developing a musical with Ryan Murphy, whom he had previously worked with on “Scream Queens.”

In addition, Powell also co-created and starred in the Hulu comedy series “Chad Powers,” which has been renewed for a second season.

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