Biblical epics have a history of big box office hauls, and one of the most famous arrived over two decades ago, when The Passion of the Christ earned over $612 million worldwide and became the highest-grossing Christian movie of all time. This is despite huge controversy which overshadowed the release of the film, including some claims that it promoted anti-Semitic tropes. Co-produced and directed by Hollywood veteran Mel Gibson, the film has since become one of the most famous of its kind, with it now confirmed that a sequel, 23 years later, is coming to the big screen next year.

Titled The Resurrection of the Christ, the film is set to be split into two parts, released almost two months apart. The anticipation for The Resurrection of the Christ — for better or for worse — continues to build, and one of Gibson’s most underrated performances is about to become available to stream for free. A neo-noir thriller released in 2019 by Brawl in Cell Block 99 director S. Craig Zahler, Dragged Across Concrete features a Gibson performance that earned plenty of critical praise, and even earned a Best Actor nomination at the Saturn Awards following its premiere at the 75th Venice International Film Festival.

The film follows Detective Brett Ridgeman (Gibson) and Detective Anthony Lurasetti (Vince Vaughn) as they descend into the criminal underworld after they are suspended for assaulting a suspect on video. The film had a limited theatrical release, earning less than $1 million in a brief box office run, but earned much more success on VOD, where it made more than $1.5 million. If this action gem seems enticing, you’re in luck, as Dragged Across Concrete will be available to stream for free on Plex this July.

‘The Resurrection of the Christ’ Release Date Has Been Moved

Image via Lionsgate

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It would be impossible for a Passion of the Christ follow-up not to face issues before its debut, but few expected it to have its release date changed already. It was announced in late May that Day Drinker, an action thriller lined up to try and revitalize Johnny Depp‘s career following the legal battle with his ex, Amber Heard, has taken over the release date of The Resurrection of the Christ: Part One (March 26, 2027). Gibson’s biblical epic has now been postponed to May 6, 2027.

Dragged Across Concrete is streaming on Plex this July. Make sure to stay tuned to Collider for the latest streaming stories.

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Release Date

March 22, 2019

Runtime

159 minutes

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Director

S. Craig Zahler

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Since the 1920s, there have been an array of memorable comedy duos, such as Stan Laurel and Oliver Hardy and Bud Abbott and Lou Costello, who left a significant mark on Hollywood, but one act that often gets lost in the crowd of other comedians is Jerry Lewis and Dean Martin. Lewis and Martin were both solo performers when they first met in 1944 and decided to team up, performing for the first time as Martin and Lewis in 1946. In 1949, Martin and Lewis made their feature film debut as the comic relief in My Friend Irma and returned in the 1950 sequel, My Friend Irma Goes West, which was written specifically as a Martin and Lewis vehicle.

Blending Martin’s effortless charm and smooth charisma with Lewis’s wild, energetic slapstick, the pair became one of the biggest box office attractions of the late 1940s and 1950s. Together, they starred in 16 movies before parting ways in 1956, but a few of their films, including The Caddy and The Stooge,brilliantly showcase the duo’s unmatched chemistry and uncanny ability to deliver timeless entertainment. Whether you’re discovering their work for the first time or revisiting classic favorites, these are the six best Martin and Lewis movies that capture the magic of one of cinema’s greatest comedy partnerships.

6

‘Sailor Beware’ (1952)

Image via Paramount Pictures

Sailor Beware is one of Martin and Lewis’ earliest and most popular comedies, which effectively demonstrates the duo at the height of their screen partnership. Set in the U.S. Navy, the film follows Martin as a confident sailor, Al Crowthers, and Lewis as a bumbling recruit, Melvin Jones, as they stumble through military life, leading to a nonstop series of hilarious mishaps and misunderstandings. The film also features a brief appearance by an unknown James Dean, who has one line of dialogue in the locker room scene, as well as future Paramount star, Betty Hutton.

Lewis’ energetic slapstick is perfectly balanced by Martin’s easygoing charm and musical talent, resulting in the chemistry and sheer precision that made the comedic pair such enduring stars. The movie was a massive success and went on to become one of the year’s highest-grossing films. The overwhelming success and rave reviews of Sailor Beware essentially assisted in cementing Lewis and Martin as one of Hollywood’s biggest box office draws. Sailor Beware is packed with memorable comedy routines, lively musical numbers, and plenty of laughs, and remains one of the strongest and most entertaining films in the Martin and Lewis catalog.

5

‘The Caddy’ (1953)

Norman Taurog‘s 1953 classic comedy, The Caddy, is a must-see Lewis and Martin flick that features a perfect balance of comedy, music, and heart, making it one of Martin and Lewis’ finest films. The movie follows Lewis as a talented but timid golfer, Harvey Miller, who, on the advice of his fiancée, Lisa (Barbara Bates), decides to become a golf instructor with his future brother-in-law, Joe Anthony (Martin), being his first client. When Anthony realizes he’s pretty good, he starts competing in tournaments with Miller as his caddie, but his success starts to go to his head, and his overinflated ego eventually comes between the two of them on and off the green.

The Caddy is a monumental Martin and Lewis classic and features one of the duo’s most famous musical moments with the debut of the hit song “That’s Amore,” which became one of Martin’s signature and most recognized tunes. The scene itself is also recognized as one of the most iconic musical numbers in classic movie history. The song went on to earn an Academy Award nomination for Best Original Song, but unfortunately ended up losing to “Secret Love” from Calamity Jane starring Doris Day and Howard Keel. Between the catchy music, lighthearted story, and laugh-out-loud performances, The Caddy is a non-stop laugh fest that remains one of the most beloved and enduring contributions to the Martin and Lewis catalog.

4

‘Artists and Models’ (1955)

Image via Paramount Pictures

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Frank Tashlin‘s one-of-a-kind 1955 comedy Artists and Models is considered one of Martin and Lewis’ greatest films thanks to its colorful blend of comedy, music, and clever satire. The movie centers around a struggling painter, Rick Todd (Martin), who decides to pull some artistic inspiration from the vivid dreams and nightmares of his roommate and avid comic book fan, Eugene Fullstack (Lewis), who talks in his sleep. The movie is an ingenious spoof on the world of comic books and pop culture, and also stars Shirley MacLaine and Dorothy Malone, and features brief appearances by Eva Gabor and Anita Ekberg.

Martin provides the perfect foil with his relaxed charisma and suave musical performances in Artists and Models, while Lewis takes advantage of every opportunity to showcase his energetic physical comedy and imaginative antics, creating an effortless dynamic of oil and water that made the duo one of Hollywood’s most successful. Today, Artists and Models remains one of the most inventive and entertaining Martin and Lewis comedies, and is celebrated for its vibrant visual style, memorable collection of songs, and fast-paced humor, earning its place as a fan favorite and a standout display of Martin and Lewis’ unique partnership.

3

‘You’re Never Too Young’ (1955)

Image via Paramount Pictures

You’re Never Too Young is a gender-swap remake of Billy Wilder‘s The Major and the Minor and stars Lewis as a barber’s apprentice, Wilbur Hoolick, who becomes an unknowing accomplice in a recent jewel heist when the thief (Raymond Burr) secretly hides the precious diamond in his coat pocket. As the thief tries to retrieve the diamond, Hoolick believes a jealous husband is following him and takes a train, where he meets a young school teacher, Nancy (Diana Lynn), unaware that their interaction will lead her fiancé, Bob (Martin), to believe they’re having an affair.

It’s hard to compete with, let alone surpass, any Wilder movie, but Lewis and Martin honor the original material while also forging their own path in the comedy genre. Lewis and Martin play effortlessly off each other in You’re Never Too Young and manage to keep the hysterical premise grounded without diminishing the overall comedic tone. Lewis shines with his energetic physical comedy and childlike antics, while Martin provides his trademark cool charm and musical talent, making them the perfect balance of heart and humor. The film’s clever humor, fast-paced gags, and unforgettable performances, notably by Burr, make You’re Never Too Young one of the funniest and most enduring highlights of the Martin and Lewis partnership.

2

‘Living It Up’ (1954)

Image via Paramount Pictures

Living It Up is one of Martin and Lewis’ most beloved comedies that features a combination of sharp humor, toe-tapping musical performances, and the duo’s effortless comedic banter. The movie is a remake of William A. Wellman‘s 1937 screwball comedy, Nothing Sacred, starring Carole Lombard and Fredric March, and follows a small-town railroad worker, Homer Flagg (Lewis), who is told by his doctor, Steve Harris (Martin) that he’s dying but when Harris learns that his patient isn’t on death’s doorstep, his interest in a beautiful reporter, played by Alfred Hitchcock blonde, Janet Leigh, who has been following Flagg’s story causes him to keep the information to himself.

Filled with clever satire, lively songs, and laugh-out-loud moments, Living It Up was both a critical and commercial success that elevated Martin and Lewis to new heights of stardom and fame. Lewis delivers a wonderfully frantic performance as the bewildered every-day man alongside Martin, who gives a stellar deadpan performance that’s topped off with his smooth wit and relaxed confidence. Leigh successfully holds her own against the powerhouse duo and frequently said that Living It Up was one of her personal favorites. Living It Up also marked a significant moment for Lewis, who directed the jitterbug dance sequence in the film, making it his first unofficial directorial credit.

1

‘The Stooge’ (1951)

Image via Paramount Pictures

The Stooge is one of Martin and Lewis’ finest and funniest films that pairs their trademark comedy with a surprisingly heartfelt story about friendship, ambition, and show business, which hit close to home for both stars. The film’s blend of genuine emotion, energetic humor, and the duo’s unforgettable chemistry makes The Stooge a standout in the Martin and Lewis filmography. Set in the world of vaudeville, the film follows an established performer, Bill Miller (Martin), who believes he’s good enough to be the frontman and parts ways with his long-time partner. When Miller reluctantly teams up with an awkward comic, Ted Rogers (Lewis), the duo is a smash hit, but Miller eventually discovers that his new partner is the real reason audiences keep coming back.

Paramount was initially terrified of releasing The Stooge because of how the audience might react to how Martin’s character treats Lewis’ character, but to their surprise (and relief), the movie was not only a hit with both audiences and critics, but also a big box office success. Martin gives one of his strongest dramatic performances alongside his traditional musical numbers as Lewis delivers some of his funniest and most endearing physical comedy. Out of all the films they made together, Lewis cited The Stooge as his favorite Martin and Lewis film, ultimately solidifying its reputation as the duo’s most rewarding and cherished collaboration.

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Living It Up

Release Date

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July 15, 1954

Runtime

95 minutes

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Director

Norman Taurog

Writers

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Jack Rose

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• 

  Dean Martin

  Dr. Steven Harris

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• 
• 

  Edward Arnold

  The Mayor of New York

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Earlier this year, Liam Neeson followed up on his comedic success in the laugh-a-minute reboot of The Naked Gun with an adaptation of David Koepp‘s 2019 novel Cold Storage; the same Koepp who recently penned Steven Spielberg‘s long-awaited return to sci-fi in Disclosure Day. Starring alongside Stranger Things favorite Joe Keery, Neeson helped steer the film to critical success, with one reviewer writing, “It’s silly, fun, and gross in the best possible way. While it doesn’t redefine the genre, it settles in comfortably and has a blast with the material presented.”

Cold Storage was yet another reminder of Neeson’s talent and range, as the same man who earned an Academy Award nomination for Best Actor in Schindler’s List and led the gritty action gem Taken. In 2009, Neeson led a Sixth Sense replacement that time forgot, although it’s about to get a second chance on free streaming. The movie in question is the awkwardly titled After.Life, a psychological horror-thriller directed by Agnieszka Wójtowicz-Vosloo, a Polish-American filmmaker who Neeson said “reminds me a little of Kathryn Bigelow.”

Sadly, despite also starring Wednesday and Yellowjackets favorite, Christina Ricci, After.Life failed to hit the sort of success Bigelow has earned, falling to a poor reception from critics, including a 24% average score on review aggregator Rotten Tomatoes. At the box office, the film failed to even return its small budget of $4.5 million, scoring a global haul of $2.4 million, with most coming from overseas markets. In its very limited U.S. release, the film was overshadowed by the likes of Clash of the Titans and How to Train Your Dragon. Next month, After.Life will be available to stream for free on Plex, starting July 1.

What Is Liam Neeson Making Next?

Three new projects are in the pipeline from Neeson, starting with the upcoming black comedy 4 Kids Walk Into a Bank, directed by Frankie Shaw. The film is set to be released in August this year, and will be followed in October by The Mongoose, Neeson’s action thriller, which also stars Marisa Tomei, Ving Rhames, and Michael Chiklis. Finally, Neeson is set to star as Larry in Guy Moshe‘s action thriller Hotel Tehran, opposite Not Without Hope‘s Zachary Levi.

After.Life will be available to stream for free next month on Plex. Make sure to stay tuned to Collider for more streaming updates.

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Release Date

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November 7, 2009

Runtime

103 minutes

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Director

Agnieszka Wojtowicz-Vosloo

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“Last Week Tonight” host John Oliver has a rare gift: he can make even educational segments on dry topics like civil forfeiture seem compelling due to his use of satire and often self-referential humor. On the June 21, 2026, episode, he dug deep into one of the deadliest dangers that Americans didn’t even know existed: feral hogs.

On the surface, it seems like a fairly innocuous topic. Feral hogs are sweeping through a majority of states, destroying crops and endangering people and animals. They are extremely smart, able to escape traps with ease, and it seems that there is nothing that they won’t devour – and that includes peanuts.

Although the hogs themselves do pose a threat, it does harken back to a larger political issue: gun control. And the subject of hogs and gun control actually links back to an unlikely source: Grammy-winning singer, songwriter, and guitarist Jason Isbell from Alabama.  

Inside The Origin Of The 30-50 Feral Hogs Meme

In August 2019, Isbell tweeted, “If you’re on here arguing the definition of ‘assault weapon’ today, you are part of the problem. You know what an assault weapon is, and you know you don’t need one.”

A user named William McNabb replied to the tweet later that same day, asking, “Legit question for rural Americans – How do I kill the 30-50 feral hogs that run into my yard within 3-5 mins while my small kids play?”

The tweet spawned many memes and jokes, but the following month, the Daily Inter Lake reported that large roving packs of feral hogs were approaching the U.S. Canada border through Montana. At the time, Dale Nolte of the USDA’s National Feral Swine Program said that if the hogs were to invade the U.S., it would “be a disaster.”

The tweet resurfaced again in February 2025, when someone posted an image of a large hog hoisted onto the back of a truck with the caption, “This is what happens when domestic hogs interbreed with wild hogs. They get larger each generation.”

It prompted the reply: “We as a society owe an apology to the 30-50 feral hogs guy.”

Are Feral Hogs Actually A Threat?

Alarmingly, yes, feral hogs are actually a threat to crops and people alike. Part of the problem? In the words of John Oliver, “They cannot stop f-cking.” According to the Internet Center for Wildlife Damage Management, feral swine have the highest reproductive rate of any large mammal. Females can start breeding as early as six months old, gestation lasts only 115 days, and sows can produce two litters per year.

Each litter size can range from 4 to 12 piglets, with each wild hog living an estimated 4 to 8 years. With those female piglets reaching maturity in just six months, the number of feral hogs can grow exponentially in only a few years. Based on this reproduction rate, wildlife agencies estimate that between 70 and 75% of the wild hog population must be removed annually to prevent the population from increasing.

The Feral Hog Crisis In Texas

Sadly, three years ago, the world learned of the news that Hollywood legend Bruce Willis had been diagnosed with dementia, specifically a rare, degenerative brain disorder known as FTD. In the years since, as his condition has worsened, his legacy has only improved, as newer generations expose themselves to Willis’ illustrious filmography. From his most famous performances in the likes of Die Hard, The Sixth Sense, and Pulp Fiction to hidden gems including 12 Monkeys and Death Becomes Her, there is a smorgasbord of quality to explore in Willis’ catalog.

One of the actor’s most underrated films debuted just two years after The Sixth Sense, which earned an impressive six nominations at the Academy Awards. That film is the 2001 heist rom-com Bandits, directed by Barry Levinson, the man most famous for directing Rain Man, which won the Academy Award for Best Picture. Blending the best of Willis’ romantic exploits and his action talent, Bandits earned most of its praise due to the quality of its cast, which also included Cate Blanchett and Billy Bob Thornton, just two years after the former earned her first Academy Award nomination for Elizabeth.

The film follows Joe (Willis) and Terry (Thornton) after they have escaped from prison, as their criminal enterprise is scuppered courtesy of a chance meeting with Blanchett’s Kate Wheeler, who joins them on their cross-country journey, and romance blossoms. The movie earned mixed reviews upon arrival, illustrated by a 64% average score on review aggregator Rotten Tomatoes. “There’s good on-screen chemistry, good acting, and an incredibly well-written and clever ending,” wrote one critic, but, in contrast, another scathingly wrote, “Terrible. A substitute for sleep medication that’s so self-indulgent and plodding, it drove four people out of my screening midway through.” Either way, you can make up your own mind next month, with Bandits officially streaming for free on Plex on July 1.

Was ‘Bandits’ a Box Office Hit?

With a post-Sixth Sense Willis headlining and the great Levinson behind the camera, Bandits looked set to be a success. Sadly, the film flopped at the box office, not helped by having a bloated budget of $75 million. Against this budget, the film only returned $71.5 million, split between a domestic haul of $41.5 million and a further $30 million from overseas markets.

Bandits will be available to stream for free on Plex next month. Stay tuned to Collider for all the latest streaming stories.

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Release Date

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October 12, 2001

Runtime

123 minutes

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Pro wrestler Joe Doering has died at age 44 following a lengthy battle with brain cancer.

“We are heartbroken to learn of the passing of Joe Doering,” TNA Wrestling announced via X on Friday, June 26. “A commanding in-ring performer and a wonderful person, he will never be forgotten. We offer our deepest condolences to his fans, his friends and his family.

Doering worked for TNA Wrestling on and off between 2005 and 2022 and was a former co-holder of the TNA World Tag Team Championships on two occasions.

The wrestler battled health issues for the past decade. Doering was originally diagnosed with a brain tumor in 2016, forcing him to pull out of competing in All Japan Pro Wrestling’s Champion Carnival tournament at the time.

While he made his comeback to the ring in early 2017, Doering once again had to step away from the sport in 2022 after a recurrence of cancer. By December 2025, it was reported that he had been diagnosed with a third brain tumor. (He also suffered from ataxia, which impacted the voluntary coordination of his muscles.)

His sister-in-law, Mandy Banh, launched a GoFundMe to help support Doering through his treatment, with the fundraiser earning more than $22,000, as per publication. On Monday, June 22, Banh confirmed that Doering was entering hospice care.

“Sad to share the news that Joe is heading to hospice soon,” she wrote. “If anyone is local & would want to visit, please send a message. Joe could use all your good thoughts & prayers.”

On Friday, Banh announced “with great sadness” that Doering “passed away peacefully this morning.”

“He was comfortable and not in any pain,” she noted. “Please keep Joe’s family and friends in your thoughts during this difficult time. Thank you all for your love, support, and kindness — it has meant so much to us. We love you, Joe. You will be forever in our hearts and deeply missed.”

Doering primarily made his name wrestling in Japan and the American independent pro wrestling scene, though he did briefly have a developmental contract with WWE in 2010. In All Japan Pro Wrestling, he held the prestigious Triple Crown Heavyweight Championship twice and the World Tag Team Championship on four occasions.

His former TNA Wrestling rival Josh Alexander was among those to pay tribute to Doering following his death. Doering wrestled one his final matches against Alexander in TNA in 2022.

“Joe always was a professional. A class act and one hell of a wrestler. I left that match sore as s*** but proud,” Alexander, 39, recalled via X on Friday. “It’s a strange feeling being both honoured and sad to have been the one that he closed out his career with. I’m just fortunate to have known him both in and out of the ring.”

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He concluded, “He fought cancer for so long. I can only hope that now he can finally rest.”

Former TNA Wrestling star Sami Callihan described Doering as a “a throwback to a different era” in pro wrestling.

“He was funny, exuded respect, and was everyone’s big brother that he connected with,” Callihan, 38, tweeted on Friday. “I will forever cherish the time I got to spend around him. Prayers and positive energy to his family and loved ones. God Bless.”

In the history of cinema, the war genre has stood out for creating marvelous entertainment that has stuck with audiences for decades. It’s a genre marked by critical and commercial success, where grand epics, captivating Best Pictures, and cinematic landmarks come to shine, and it’s only gotten stronger with time. Today, watching a war film has a profound impact on any viewer, newcomers and long-time loyalists alike. They’re emotionally gripping, thrilling from start to finish, and unforgettable. Yet, through all the amazement and acclaim, some have stood out in recent years as aging poorer than others.

Make no mistake that war is a fantastic genre, a powerful piece of storytelling that has made cinema buffs of so many of us for decades. But not all war movies are always timeless; in fact, five in particular stand out in the worst ways, becoming heavily criticized as “classics” by some when they were originally released, but have since become dated, harmful, or poorly-made by audiences today. Below are recognized American war movie classics that time would like to forget simply because of how badly they’ve aged. Whether it’s through how badly they represent history or through their glaring inaccuracies, these five aged less like fine wine and more like expired milk left over in the fridge.

‘The Dam Busters’ (1955)

Image via Associated British Pathé

Released in 1955, The Dam Busters is a British docudrama war movie based on a book of the same name by author Paul Brickhill. Showing WWII from the perspective of Britain’s Royal Air Force, it highlights the dangerous career of decorated bomber Wing Commander Guy Gibson through several notable operations, in particular, his famous bombing of several dams behind German lines. Notable for its stellar casting, including Richard Todd, Patrick McGoohan, and the legendary Robert Shaw, The Dam Busters might be a delight for some for its thrilling concept and excellent character drama, but not for everyone. Truly, its reception has aged poorly over the years.

The most obvious issue is its special effects, which, for the time, were passable, but have quickly shown their age since. They’re distracting, clearly fake, and can draw viewers away from the heart of the story. But, really, what makes The Dam Busters see its age today is its use of harmful language, particularly the unfortunate naming of Gordon’s dog, which is a terrible slur. The use of this language really makes this classic a product of a particular time rather than timeless. The film’s largely been swept under the radar for many war buffs in the years since, and it’s likely its reputation will only get worse later on.

‘Force 10 From Navarone’ (1978)

Though this next one isn’t widely accepted as a classic, it’s still brought up alongside other recognizable American WWII films, but that’s not to say it’s perfect. A sequel to one of the most rewatchable war movies of all time, Force 10 From Navarone is the continuation of the 1961 thrilling classic The Guns of Navarone. Like its predecessor, this sequel sees an all-star cast on an action-packed journey behind enemy lines in a mission to disrupt the German war machine. Unlike the ’61, this one’s reputation has dramatically changed in recent times.

Though it’s anchored by a solid Robert Shaw and Harrison Ford pairing, Force 10 From Navarone has drawn criticism for being a boring, jarring, and poorly paced film that some say is an unnecessary sequel to a well-established classic. Its story was already noticeably overdone and even outdated by the time it came out, considering the other war films at the time of its release were changing cinema and the war genre itself, particularly Vietnam War movies like Coming Home and The Deer Hunter. It hasn’t aged notably well, considering how it also has dated, negative language directed at women and Black characters. Overall, Force 10 From Navarone may have started ok, but it has gradually lost war fans over time.

‘Battle of the Bulge’ (1965)

Image via Warner Bros.

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Depicting one of the most iconic and largest battles of World War II, 1965’s Battle of the Bulge is a dramatization of the legendary operation in which Nazi Germany carried out its last major offense during the war by pushing through the Allied defenses in eastern Belgium, resulting in their crushing defeat. Led by a remarkable A-List cast including Robert Shaw, Henry Fonda, Robert Ryan, and Charles Bronson, Battle of the Bulge is Hollywood’s attempt at recreating history. But, as so many veterans and historians pointed out, it’s frustratingly inaccurate.

Today, Battle of the Bulge is considered one of the most historically inaccurate war movies ever made, and, at times, it’s insultingly deviating from what actually happened. Major battles are glossed over or never particularly mentioned, military personnel and tactics are poorly represented, the geography doesn’t even line up, and even the entire events of the operation are shortened to fit the film’s runtime. Needless to say, this misguided movie is certainly not for history or WWII buffs. If you just want to enjoy a fun but unrealistic war movie, maybe Battle of the Bulge would be right for you. But, for many, it is simply one that should be skipped.

‘The Green Beret’ (1968)

Image via Warner Bros.

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If you think Battle of the Bulge is an insult to history, get a look at his next one, which managed to tick off active service members. Released in 1968, The Green Berets is a questionable war classic that seriously hasn’t aged well, even when it first came out. Starring the legendary John Wayne, it sees him as a tough-as-nails Special Forces commander leading his team behind enemy lines to capture a vital target. It’s a simple premise, but it’s undermined by glaring military inaccuracies, highly unrealistic combat sequences, a miscast leading star, and a shameful tone that felt like propaganda.

The Green Berets‘ reputation has only gotten worse with age. In the years after the Vietnam War, the film has become an irrelevant, bloated, and painfully inaccurate depiction of real warfare. John Wayne was also very out of place for this story, mostly considering his age at the time and for how he brought his cowboy-style persona to the role, which should have been given to someone who could more authentically portray a more realistic commander. Honestly, The Green Berets is a mess that, despite being categorized as a classic by history today, has since been on a slow decline on its way to eventually be forgotten by time.

‘The Birth of a Nation’ (1915)

Image via Epoch Producing Co.

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Considered one of the most controversial movies ever made, D. W. Griffith‘s 1915 classic The Birth of a Nation arguably helped popularize filmmaking, but it has since been cited as a dark piece of its history. It’s seen as cinema’s first blockbuster, one that was highly watched and even considered popular and acclaimed at the time. However, it is now remarked as harmful and shameless propaganda that negatively targeted other ethnicities.

Birth of a Nation now is a touchy film to even mention, and it’s not hard to see why, considering its inflammatory subject matter. It glorifies a certain infamous hate group, reshapes the South’s loss of the Civil War in a different light, and features shocking, offensive depictions of African Americans that have since been widely rejected by the public. The film is still considered a classic for its historical significance and for kickstarting cinema’s dominance in entertainment, but it has not improved with age; in fact, beyond film school students, hardly anyone would want or need to watch it.

Filmmaker Duncan Jones (Moon) has four feature films under his belt, but for well over a decade, he’s been chasing his directorial white whale: an adaptation of 2000 AD’s 1981 comic strip Rogue Trooper. While talking with Collider’s Steve Weintraub at this year’s Annecy International Animation Film Festival, where his longtime dream finally celebrated its world premiere, Jones explains that despite his affinity for Hollywood’s greatest World War II epics, it was the core group of buddies at the heart of the UK comic that inspired him most.

Rogue Trooper is a gritty sci-fi behemoth that Jones deftly adapted for screen from Gerry Finley-Day and Dave Gibbons’s original story, opting for Unreal Engine 5-powered animation to capture the futuristic war between the Norts and Southers. The movie follows Rogue (Aneurin Barnard) as he traverses enemy territory during a secret military operation, accompanied only by the biochips of his former pals, Gunnar (Jack Lowden), Helm (Daryl McCormack), and Bagman (Reece Shearsmith). The movie also enlists the talents of comedians like Jemaine Clement, Matt Berry, Diane Morgan, Al Murray, and Henning Wehn, plus stars like Game of Thrones icon Sean Bean and MCU favorite Hayley Atwell as the treacherous Venus Bluegenes.

“There’s a couple of little Easter eggs in there for the fans of the comic book,” Jones teases, but for the uninitiated, he adds, “Really, for an audience who doesn’t know about the biochips, it’s really making sure that they understand that the chips are in people’s heads, that their personalities, the people that they are, are recorded on those chips when they die.”

In their recent conversation, which you can read below, Jones further explains the lore and the themes he wanted to capture in his long-gestating adaptation. He discusses the full animation process and why their team had to shift from fully animating with Unreal Engine, tackling a massive world build through independent animation, without Disney-sized finances, and what about 2000 AD’s comic sources inspired him over the box office-busting Marvel or DC. Jones also addresses Rogue Trooper’s distinctly British aesthetic, how the “amazing comedians” in the cast helped shape the final film, adhering to 2000 AD’s political edge, the inspiration of WWII classics like A Bridge Too Far and more, working with Bear McCreary (Battlestar Galactica, The Walking Dead) on the score, and paying tribute to the creatives behind the original comic.

How ‘Rogue Trooper’ Was Made Using Unreal Engine 5 (Sort of)

“We didn’t know how the film was going to get made when we started.”

Image via Liberty Entertainment

COLLIDER: How did you make this movie using only Unreal Engine 5?

DUNCAN JONES: [Laughs] We didn’t. We started that way. We thought we were going to be able to do that, and about two and a half years in, we realized that it’s not ready yet. So we actually took it out of Unreal 5 and ended up using Maya and some other software, and then we reimported it back at the end to basically do our rendering through path tracing.

Pipeline-wise, we didn’t know how the film was going to get made when we started. We thought we had a plan, but it didn’t quite work out, and that’s one of the reasons the film took four years. We were kind of working it out as we went along. It was maybe a little crazy of us to go ahead when we didn’t really know how we were going to do it, and we didn’t know what the film was going to look like by the end of it.

We knew what we wanted. There was this amazing comic that Dave Gibbons did with Will Simpson called War Machine, and we knew we wanted it to look something like that. Lots of beautiful rendered fog and a watercolor kind of feel to it. I mean, you would attest that that’s kind of how it looks?

100%.

JONES: That’s what we were going for, but we didn’t know how we were going to get there, and that’s why it took so long. One of the reasons.

For people who want to do something like this in the future, what’s the big lesson you learned?

JONES: Well, first of all, that it’s possible and that you can make big-world movies in independent cinema now, I believe. You need to get the expertise around you. The technology is moving so fast, and I’m sure you’ve heard me say this before, but there is no AI in this movie. We didn’t want AI. You can still do this without using AI. You can make an independent movie that looks like this without AI. It’s really just a matter of finding the combination of technologies to get you that.

I don’t want you to tell me, and I have no business knowing, but a lot of people are wondering, like, what did this actually cost? Is this something that a real indie can do? I’m sure a lot of people are wondering, “Can I actually do this?”

JONES: I’ll just put it this way, I don’t know any theatrical animated films that have been made at this budget.

‘Rogue Trooper’ Isn’t Working With a Disney-Sized Budget

“It’s a very British film, as well.”

Image via Liberty Films Entertainment

When we talk about Pixar or Disney, those people are spending over $100 million.

JONES: We’re not talking about that. Even independent films, animated films that have gone to theaters, I’m sure there are others, but it really hits over its cost.

Absolutely. You world premiered here at Annecy, which is amazing, but how many times have you screened for studios and people? Was it like, “Let’s show here and see how it goes?” Because it’s a big decision to world premiere somewhere.

JONES: We did some test screenings, but it was a while ago, and that was still while we were in the editing room. But no, this was a proper first time in front of a real audience. We were proud of the film. We felt confident. I’ve been working with the guys at 2000 AD, and we’ve been working for such a long time refining it the best way we could, and we just wanted to put it in front of an audience. We felt confident. We felt like we had something.

Sometimes, the distribution plan can be a big question mark.

JONES: It is a big question. Look, it’s a very British film, as well. One of the reasons we wanted to come to Annecy in particular is that we feel confident that it is going to work with a British audience, but is it a British film that only British people will get, or is it like Shaun of the Dead, where audiences beyond that will appreciate it? That’s what we wanted to see. That’s why we wanted to come here.

This is a 2000 AD property with a very specific British sci-fi attitude. What was the most important piece of that 2000 AD DNA to preserve?

JONES: Not being afraid of being a little bit political. 2008 AD comic book has always worn its politics and its cynical humor on its shoulder, and that’s one of the things, to me at least, that differentiates it a little bit from DC and Marvel. I mean, they have those things, but I think 2000 AD does it in a very British way. It’s very Python-esque in some ways. There’s a cynicism in 2000 AD, which is maybe not as… You know what? I’m talking out of my knowledge because I don’t know DC and Marvel as well as I know 2000 AD, but I know what I wanted to capture in 2000 AD again, and it’s that it’s being funny, being acerbic, and being a little bit political at the same time.

As someone who’s watched all the Marvel and DC movies, they are not doing what this movie is doing and what they’re addressing. I will say that Thunderbolts*, which is a recent film, really addressed mental health in a way that I’ve never seen a comic book movie do, and it really impressed me what they pulled off, but that is a rarity, and it’s not about politics.

JONES: I understand, and those are big studio films. Again, one of the other benefits of being indie is that you can kind of just say what you want to say and do what you want to do.

Rogue is on a revenge mission, but the story also has a lot to say about soldiers being manufactured, used, and discarded. How political did you want the movie to feel?

JONES: The timing of everything was unplanned. I’ve been working on it for a long time, and it synced up that we started production roughly the same time as the SMO in Ukraine began. So we’ve been making the movie while watching the horrors of what’s been going on out there. I don’t know if you know much about what I do online, but I’ve been keeping in contact with a lot of people out there and trying to understand what’s been going on and how they’re getting through it in Ukraine. In my own small way, I’ve been trying to say, “Okay, what can I learn from your experiences that you feel would be helpful to communicating what we’ve done?”

I am so pro-Ukraine. Also, I’m blown away by the way they have taken drone technology to a level that no military command person on the planet, even with the biggest military, has even fathomed. They are revolutionizing warfare.

JONES: There’s a lot of rethinking that has to go on about what asymmetry has brought to modern superpowers, how they’re going to have to rethink what they do. I think sovereignty of smaller nations is in a different place now than it was four years ago.

Absolutely. There’s a lot of world-building baked into Rogue Trooper — Nu-Earth, the Norts, the Southers, and genetic infantry biochips. What was the hardest thing to explain elegantly without stopping the movie cold?

JONES: I think it was the biochips. We hit it a few times, and hopefully, each time that we do hit it, we add just a little bit more information. The key is to try and keep those moments action and entertaining, as well as you learning something. So, there’s a couple of little Easter eggs in there for the fans of the comic book, but really, for an audience who doesn’t know about the biochips, it’s really making sure that they understand that the chips are in people’s heads, that their personalities, the people that they are, are recorded on those chips when they die, and then obviously that they can be brought out and put in the equipment and stored until they can be put into a real body later on. That becomes the ticking clock for us with the chips, which are traveling in Gunnar and Helm and Bagman.

WW2 Classics Like ‘The Dirty Dozen’ Were a Major Influence on ‘Rogue Trooper’

Duncan Jones also praises Bear McCreary’s original score.

I love Bear McCreary’s soundtrack.

JONES: Oh, me too! That was so much fun.

What did his music unlock in the movie that you weren’t expecting?

JONES: Well, I knew that it was going to be great. Because of the weight of what we had talked about, we really wanted to tap into those old World War II movies that I’m kind of nostalgic about, whether it’s A Bridge Too Far, The Dirty Dozen, or Where Eagles Dare. Those were the things we were listening to. I had a few of those as a temp score in the film, and Bear immediately got it. He’s fantastic, and it was amazing to work with him. As soon as we started talking about having a march and using bagpipes and writing lyrics that were as in character with the movie as the story itself, we just had the best time.

The movie’s about two hours. With the process that you did, how exponential is every extra minute in terms of cost, or once you’ve refined this process, was it like, “If we want to do 100 minutes or 120, it’s not that different?”

JONES: For finished film, you’re using more resources than the rough cut, the animatic. Those things, you can have a two and half-hour movie or a 90-minute movie. At the animatic stage, it’s not that much of a problem. We actually ended up taking about nine months to make our animatic, but that wasn’t really because of resource hogging. It was really just working out the story as we went along. I guess it’s a little bit like what Pixar and those people do, is you keep refining and doing new versions of it as you see the finished movie in front of you, and you start realizing where it’s a little bit heavy or where it doesn’t quite work, and you’re able to keep iterating on it.

But isn’t that also because once you start animating, if you will, that’s where the cost is? When you’re doing animatics for those nine months, isn’t the cost minimal, or is it still expensive?

JONES: No, it is minimal. It is minimal, but the interesting thing is, because we use a lot of mocap, there’s a lot of hand animation, as well, but you can do rough hand animation. It only really becomes time-intensive in this experience when you start refining the animation. So, it’s those last passes of iteration where you’re getting it to finished quality. That takes up a lot of time and resources. But you can iterate and have characters moving and get the basic movements down, and that doesn’t really eat up resources in the same way as the finishing off of the film. You just want to know that you’ve done, and then you do your refining.

You’ve wanted to make this for a very long time, and you’ve talked about it for almost 10 years.

JONES: [Laughs] I think we’ve talked about.

It’s possible. What was it about this material that has kept you so passionate for so long?

JONES: Well, the crazy thing is, it wasn’t even the fact that it was a war movie, or that it was even necessarily 2000 AD. I always loved the group of buddies traveling together part of it, between Rogue, Bagman, Helm, and Gunnar. I loved it. It was a road trip movie in some respects. I always thought that the banter and the reliance that these three guys had on Rogue to get them home was just a wonderful setup for a story.

One of the things that really impressed me about the film is that you used actual comic panels at the beginning and at the end. It’s a love letter to the comic, and I don’t think I’ve seen another comic book movie that really embraces comic book frames in the movie. Is it hard to get permission to put the panels on the screen, and why was that so important to you?

JONES: We were lucky enough to show Gerry Finley-Day and Dave Gibbons the movie a couple of weeks ago, and they immediately appreciated the fact that we start our movie with the panels they started the comic book with. We didn’t know exactly what we were going to do at the start of the movie, but as soon as that idea came to me, it just felt so right.

We literally start with the first three panels of the comic book. That’s how we start our movie. Then, when we did that, we started thinking about how we’d like to end the movie, and obviously, this very iconic, massive tank that we start the film with is also at the end of the movie, so the opportunity to do that as a comic panel — that’s not from the comic. That’s one that we had one of the artists who does work in 2000 AD and has done Rogue work, he came in and did this bespoke ending comic panel for us to end the movie.

That’s fantastic. Something else I want to commend you on is that in the credits, you mentioned all the people who worked on the comic. No disrespect to Marvel and DC, but it’s almost like they’ve been forced to mention Bob Kane, or they’ve been forced to mention some of these creators.

JONES: Why wouldn’t you want to mention them?

It’s because of money, attrition, or residuals. Who knows? But all of this stems from these people. It’s their ideas.

JONES: Yeah. We’ve got Gerry and Dave’s credit right up front, the beginning of the movie. That’s how we start.

Edgar Wright’s ‘The Running Man’ Played a Surprising Role in Duncan Jones’ Acclaimed Sci-Fi Feature

“I stole that.”

Image via Paramount Pictures

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I give you credit because you have all the people. There’s a huge number of people thanked in the credits. Again, why was that important?

JONES: Well, it was important because they made the damn thing! [Laughs] And secondly, I love the graphic design of the end credits, the end roller. I stole that. I stole that idea. I had seen Edgar [Wright]’s most recent movie, The Running Man, and The Running Man credits were beautiful. The end credits, the end roller on Running Man, were beautiful, and I just said, “Who did that? Who did that?” And I worked with the same artist to do ours, and he was amazing. So, the people who made Rogue Trooper deserve to have their credit, and then we had beautiful credits, so I was like, “Put everyone in there!”

You start the movie with a little bit of what’s going on, and then you’re thrown into the action with Genetic Infantryman. How did you decide where to start the beginning of the movie, and did you ever have a version that explained the differences between the sides more?

JONES: It’s always such a balancing act with science fiction conceits, as to how much do you have to explain? How much time do you want to spend explaining it? We went through all sorts of different permutations early on. So yeah, there were some scenes that we played around with. It was just too clunky. I went even more [Paul] Verhoeven at the beginning. It was much more setting up the war, setting up the grunts on the ground, and doing all that kind of stuff. I was like, “This is a lot of starts before we actually start the movie. I don’t think we need to explain all of this.” I think the way we’ve structured how the G.I.s find out where they are, we can learn all the stuff that we need the audience to learn. So, we trimmed off a lot of that, and I think it was the right move.

I believe that this is your first time co-writing a song.

JONES: I guess technically, yeah.

You co-wrote the Rogue Trooper march, and it’s a good song.

JONES: I’m not taking credit for that. I wrote a few lyrics just because I wanted to make sure it felt like 2000 AD, but that’s not writing a song. Not in my mind. I wrote a few couplets. [Laughs]

I did just want to mention that you did co-write a song, and it’s good. It’s really selling the troops.

JONES: I love it. I love what they did, and it’s freaking contagious.

I can hear the song in my head.

JONES: I’ll tell you what I did, and you’ll probably recognize this: I gave very specific notes on what I wanted “I Am the One and Only” to sound like at the end of the movie. The Flash Gordon ending music, the big Queen ending there, I was like, “We’ve got to do that, or we’ve got to use ‘I Am the One and Only.’ I need a big guitar solo. I need a screaming performance of the song at the end, and we’ve got to start with the chorus, not the way the song originally begins.” So that one, I feel like, I had more notes on that than what I did on the march.

This movie feels like a movie without studio notes. It really feels like you’re getting your brain on screen. Did you have a lot of notes to deal with, or did you have incredible creative freedom?

JONES: I did have incredible creative freedom. I did work very, very closely with Jason and Chris [Kingsley] at 2008 AD, at Rebellion, to basically make sure that they were happy both with what I wanted to do and also all of the improv that came into the film. Obviously, we were working with these amazing comedians, so there’s no point having amazing comedians come in and think that they’re going to deliver your lines, and that’s going to be the best option.

So they came in, they watched the animatic, they read the lines, they said, “Okay, I see what you want to do. I see what you need to get out of this scene,” and then they ran with it. So, Matt Berry, Jermaine Clement, they come in, they do their own version of what they want to do, we’re laughing our asses off, and adding bits into the project that weren’t even planned on being there just because they’re making us laugh. I mean, how much fun is that? I had them coming in, I had Diane Morgan coming in, I had Al Murray and Henning Wehn coming in. All of these comedians. Like every two days, there were new comedians coming in. It was amazing. It was like being at a comedy festival was what the shoot was like.

Rogue Trooper does not have an official release date yet. Keep an eye on Collider for more updates!

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Director

Duncan Jones

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Writers

Duncan Jones

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The neo-noir genre is a modernized version of the classic film noir genre that initially reached its peak of popularity during the 1960s and was established by hit movies such as Cape Fear starring Robert Mitchum and Gregory Peck, Martin Scorsese‘s Taxi Driver, and L.A. Confidential. As neo-noir films were favored well by audiences around the world, the genre inevitably made a name for itself on the small screen with shows like Showtime’s Dexter and A&E’s Bates Motel, and continues to be a frequent favorite in the world of television.

Over the years, there have been a slew of successful neo-noir shows that are worthy contributions to the genre, but some series, including David Lynch‘s Twin Peaks, Better Call Saul, and Ray Donovan, embody the core elements and traditional tropes of the neo-noir genre. From the marginalized miniseries, Monsieur Spade starring Clive Owen, to the critically acclaimed anthology crime series, True Detective, these are the greatest neo-noir television shows of all time, ranked.

10

‘Monsieur Spade’ (2024)

Image via AMC

Clive Owen stars as Dashiell Hammett‘s private eye, Sam Spade, in the neo-noir miniseries, Monsieur Spade, which takes place twenty years after the events of The Maltese Falcon. The series follows Spade as he travels to France with Brigid O’Shaughnessy’s daughter, Teresa (Cara Bossom), in an attempt to find her father, but what was intended to be a brief trip turns into a permanent stay after Spade falls in love with a local woman. As Spade puts his detective days behind him, his peaceful life is interrupted by the return of Teresa’s father and a series of murders, ultimately forcing Spade out of retirement.

Monsieur Spade is based on Hammett’s novel, Sam Spade, and is a thrilling must-see neo-noir series that takes viewers through a labyrinth of a whodunit mystery. It’s safe to assume that the majority of people are familiar with Spade, who was originally popularized by Humphrey Bogart in one of the best detective film noir movies, The Maltese Falcon. Bogie’s portrayal of Spade presents Owen with some big shoes to fill, but he manages to deliver a sensational performance that effectively aligns with Bogie’s take on Spade while still forging his own interpretation of the legendary private eye.

9

‘Mr. Mercedes’ (2017–2019)

Image via Audience

Based on Stephen King‘s novel trilogy series, Brendan Gleeson stars in the gripping neo-noir series Mr. Mercedes as Bill Hodges, a retired Ohio detective who, after being taunted by a serial killer online, finds himself in a tedious game of cat and mouse. As Hodges tries to stay two steps ahead of his tormentor, he soon realizes that his search for the killer comes with a dangerous price that puts everyone he loves in jeopardy.

Mr. Mercedes is a highly overlooked series that embodies the neo-noir genre with a touch of King’s signature madness. Gleeson gives an outstanding performance as a man haunted by his past and forced to come to terms with his personal and professional failures, presenting an underlying mystery to the main plot. The show ran for three successful seasons, but in 2020, it was unexpectedly discontinued with no indication of it being canceled. While the fate of the series still hangs in the balance, Mr. Mercedes still ranks as a top series that every diehard noir fan should check out.

8

‘Sugar’ (2024–Present)

Image via Apple TV

Colin Farrell stars in Apple TV’s neo-noir series, Sugar, as a private investigator, John Sugar, who is hired by a Hollywood producer, Jonathan Siegel (James Cromwell), to find his beloved granddaughter, Olivia (Sydney Chandler), whom he believes is missing. As Sugar talks to Olivia’s family and friends, his investigation eventually leads him to uncover family secrets and scandals within the Siegel dynasty as well as crucial information about a mystery from his past.

Sugar is a unique neo-noir series with an unexpected blend of genres and a captivating performance by Farrell that ultimately sets it apart from other shows in the genre. Unlike the majority of other neo-noir series, Sugar features frequent cutaways to clips from classic film noir movies and key props, which contribute to the series’ classic noir aesthetics. One of the most significant references in the show is Sugar’s Chevy Sting Ray, which is the same car Ralph Meeker‘s Mike Hammer drives in the noir classic, Kiss Me Deadly.

7

‘Bates Motel’ (2013–2017)

Image via A&E

Bates Motel is a modern prequel and reimagining of Alfred Hitchcock‘s classic thriller, Psycho, which is based on Robert Bloch‘s 1959 horror novel of the same name. Freddie Highmore stars as a young Norman Bates who, after the death of his father, moves with his mother, Norma (Vera Farmiga), to the seaside town of White Pine Bay, where they purchase and run a local motel. They quickly learn that White Pine Bay is far from what it appears to be, and while Norma tries to get the motel up and running, Norman begins to experience strange behavior that his mother tries to keep a secret from their new community.

Aside from its modernized setting, Bates Motel is a clever neo-noir drama that features exceptional performances by the overall cast as well as subtle references to Hitchcock’s film, which give the show a nostalgic touch. Unlike Psycho, Bates Motel provides an intriguing insight into Norman’s mindset and how it is influenced by the puzzling details surrounding his unusually close relationship with his mother. Although the show takes some creative liberties and tailors the story for a more contemporary audience, Bates Motel is still a riveting revival and character study of Norman Bates, who is one of the most fascinating characters in entertainment history.

6

‘Ray Donovan’ (2013–2020)

Image via Showtime

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Liev Schreiber stars in Showtime’s Ray Donovan in the title role as a former Boston thug turned notorious “fixer” for Hollywood’s elite and the go-to guy for anyone who wants to make something or someone disappear. While Donovan has carved out a new life for himself in Los Angeles, he soon realizes that he can’t run away from his past after his recently paroled father, Mickey (Jon Voight), arrives in town to try and reconnect with him.

Even though it shifts between several different genres, Ray Donovan stays consistently within the realm of the neo-noir genre with a gritty blend of family drama and personal high-stakes that ultimately earns the series a spot on the list. Schreiber and Voight are absolute gold together, but both deliver enthralling performances that make the series all worthwhile. Throughout its solid season run, Ray Donovan received an abundance of nominations and awards, including a Golden Globe Award for Best Supporting Actor for Voight. Unlike other shows, Ray Donovan concluded in 2022 with Ray Donovan: The Movie, bringing this epic neo-noir gem to a fitting end.

5

‘The Penguin’ (2024)

Image via HBO

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Colin Farrell reprises his role as Oz Cobblepot in HBO’s The Penguin, which picks up after the events of Matt Reeves‘ 2022 movie, The Batman. With Gotham in utter disarray and ruin, Carmine Falcone’s son takes over as head of the family, but when he suddenly goes missing, his sister and former patient at Arkham Asylum, Sofia (Cristin Milioti), suspects that Oz is somehow responsible for his disappearance. As Oz meticulously pits the Falcone family against their rivals, the Maroni family, he gradually begins his journey into becoming one of Gotham City’s most notorious villains.

The Penguin is an edgy neo-noir miniseries that features unbelievable performances by Farrell and The Sopranos alumni, Milioti, whose personal vendetta against Oz adds emotional depth and drama to the villain’s origin story. While some may think the show is only appealing to fans of DC Comics, the Batman comics have always been deeply rooted in the world of noir and feature traditional tropes of the genre, such as political corruption, seedy characters, and a crime-ridden city, which are apparent in The Penguin and ultimately solidifies it as a top-notch neo-noir series.

4

‘Dexter’ (2006–2013)

Image via Showtime

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Showtime’s Dexter is a twisted neo-noir crime drama starring Michael C. Hall as Dexter Morgan, a blood-spatter expert for the Miami police department who not only helps to solve homicides but also commits them. Unlike other serial killers, Dexter sees himself as a vigilante and justifies his sadistic behavior by only killing people who are guilty of unspeakable crimes or slip through the cracks of the justice system.

Dexter puts a gruesome contemporary spin on the classic cynical lawman who, like Sam Spade and Philip Marlowe (minus the murdering part), has a status of legal authority that helps him carry out his own unique brand of justice. Throughout the show’s eight seasons, Dexter won four of its twenty-four Primetime Emmy nominations as well as two Golden Globes in 2010 for Best Performance by an Actor in a Television Series – Drama for Hall and Best Performance by an Actor in a Supporting Role for John Lithgow. Despite the show concluding in 2013, there have been several successful spin-off series, including Dexter: New Blood and Dexter: Resurrection, and most recently, Dexter: Original Sin, which is a fascinating prequel series that brings Dexter’s life full circle.

3

‘Better Call Saul’ (2015–2022)

Image via AMC

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Bob Odenkirk reprises his Breaking Bad role as the unscrupulous lawyer and con artist, Saul Goodman, in Better Call Saul, a legal neo-noir series that alternates between Goodman’s life on the run and his past as Jimmy McGill and the pivotal events that led him to become an attorney for the criminal underworld. Even though the series fills in the blanks for fans about Goodman’s fate after Breaking Bad, it primarily focuses on the character’s past and provides crucial pieces that shed light on Goodman’s former life.

Odenkirk’s performance as Goodman in Breaking Bad is exceptional, but he absolutely shines in Better Call Saul, delivering a complex portrait of vulnerability and ingenuity that, for the first time, puts the misunderstood character in a humanizing light. Character tropes aside, Better Call Saul is engulfed in visual elements and characteristics of the noir genre, utilizing the work of legendary cinematographer John F. Seitz, and the ingenious use of black-and-white, which not only distinguishes between Goodman’s past and present but also establishes a spellbinding and wistful tone.

2

‘True Detective’ (2014–Present)

Nic Pizzolatto‘s True Detective is a heart-pounding neo-noir anthology series and one of the best Southern gothic shows that follows police detectives as they work on solving unsettling crimes while also struggling with their own personal demons and problems behind closed doors. Out of the show’s four seasons, the first, starring Woody Harrelson and Matthew McConaughey, is by far the best as it effortlessly captivates viewers with its intriguing poetic dialogue, horrific series of murders, and two mesmerizing characters who have their share of flaws and secrets.

True Detective brilliantly incorporates an abundance of neo-noir elements, such as moral ambiguity and imperfect characters, as well as following complex narratives within an atmospheric setting, conveying a tone of intensity and uncertainty. Even though the reception of each season has varied, True Detective does keep things interesting with its vastly different cast of characters and premises, effectively remaining true to Pizzolatto’s original story structure while also distinctly setting each season into its own vision of a detective neo-noir.

1

‘Twin Peaks’ (1990–2017)

Image via ABC

Kyle MacLachlan stars in David Lynch’s surrealist neo-noir series, Twin Peaks, as a special agent for the FBI, Dale Cooper, who is leading the investigation into the brutal murder of a teenage girl in the fictional town of Twin Peaks. Although the series incorporates characteristics from other genres, the narrative is derived from the traditional detective fiction that essentially inspired the classic film noir genre, cementing Twin Peaks as the all-time best neo-noir television show.

Lynch defied the world of television with his innovative neo-noir series, Twin Peaks, which takes a traditional murder mystery and heightens it with an array of characteristics from polar opposite genres that only a visionary talent like Lynch could successfully achieve. MacLachlan, who had previously worked with Lynch on one of the director’s definitive masterpieces, Blue Velvet, gives a compelling performance as a vividly eccentric character whose quirky mannerisms and unconventional techniques set him apart from the more traditional detectives of the neo-noir genre.

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Twin Peaks

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Release Date

1990 – 1991-00-00

Directors

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Lesli Linka Glatter, Caleb Deschanel, Duwayne Dunham, Tim Hunter, Todd Holland, Tina Rathborne, Diane Keaton, Graeme Clifford, James Foley, Jonathan Sanger, Mark Frost, Stephen Gyllenhaal

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