Related: Nicole Kidman Wore These Exact Adidas Cool-Girl Sneakers With Jeans
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Trends come and go, but Julia Roberts has nothing to worry about — her cool-girl sneaker style never goes out of fashion. The star’s pick isn’t clunky or bright, but rather sleek and minimal, making any outfit appear polished. Now that we found Roberts’ timeless look for only $26, it’s easier than ever to follow her lead and snag something timeless.
The actress was spotted walking around Manhattan wearing a plaid dress, a crossbody bag and headphones, possibly enjoying some tunes. She looked effortlessly chic and totally unbothered, especially since she sported classic white canvas shoes, which perfectly completed the look.
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Like Roberts’, these Beneker Canvas Sneakers nail the quiet luxury look that’s been running Manhattan for years, featuring a low profile, clean color and understated silhouette. Better yet, these lookalike shoes have a convenience factor that makes them as practical as they are stylish.
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Pair these casual kicks with a maxi dress and a crossbody, or with jeans and a button-up. If you really want to look like Roberts, throw on your favorite headphones and pretend the sidewalk is your runway.
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There’s a specific feeling you get watching a stunt and knowing, somewhere in the back of your mind, that a real person actually did that. Not a digital double, or a green screen, but an actual human being hanging off an actual jet or freezing in an actual river. That feeling has mostly disappeared from big blockbusters over the last couple decades, buried under so much CGI that nothing on screen feels real.
The six movies on this list are proof that feeling never actually died, it just got rarer. Every one of them found a way to put something real on screen. A good adventure movie is supposed to make your heart rate climb a little. These are the six that still know how to do that without cheating.
Ang Lee built a tiger that doesn’t exist and somehow made it feel more real than most animals I’ve seen in actual nature documentaries. Richard Parker, the Bengal tiger sharing a lifeboat with Pi (Suraj Sharma) after a shipwreck, was almost entirely computer generated, and it still took home an Oscar for visual effects because nobody in the theater could tell the difference.
What keeps this movie with me, though, isn’t the tiger. It’s the very end, when adult Pi (Irrfan Khan) offers the writer listening to his story a second version of events, a much darker, more human one, without any animals in it, and asks which version he’d rather believe. The movie never tells you which story actually happened. It just lets you sit with the fact that you’d rather believe the one with the tiger in it, and that says something true about why we tell stories like this in the first place.
Mark Watney (Matt Damon) gets left behind on Mars, alone, with barely any supplies, and instead of panicking, his first move is to calmly explain to a camera that he’s going to have to, in his exact words, science the hell out of this. That line tells you everything about why this movie works. Ridley Scott could have made a bleak survival story out of this premise, and instead made something genuinely funny, even while a man is growing potatoes in his own waste just to survive another few weeks.
The rescue sequence near the end had me leaning forward in my seat despite already knowing, on some level, that a movie built entirely around problem-solving wasn’t going to end with the problem unsolved. That’s the real trick of The Martian. It makes competence itself feel like the most thrilling thing on screen.
Leonardo DiCaprio ate raw bison liver for one scene in this movie, and that’s not even close to the hardest thing he does in it. Hugh Glass gets mauled by a bear in a scene so physical and drawn out that it stops feeling like a stunt and starts feeling like something you shouldn’t be allowed to watch this closely. Alejandro G. Iñárritu shot the whole film using only natural light, which meant DiCaprio spent months freezing, actually freezing, in real rivers just to get the shot.
DiCaprio finally won his long-overdue Oscar for this role, and watching the film, it’s hard to argue he didn’t earn every bit of it through sheer physical punishment alone. This isn’t an adventure movie about excitement. It’s one about endurance, about how far a human body can be pushed and still refuse to stop moving, and it commits to that idea more fully than almost anything else on this list.
I saw this movie in theaters not knowing much about it going in, and I remember walking out afterward feeling like my heart rate hadn’t actually come down yet. George Miller shot this thing almost entirely with real stunt drivers, real vehicles, and real explosions across an actual desert, and you can feel that reality in every single frame. Nothing about the chases looks like it’s being generated on a computer, because almost none of it was.
Furiosa (Charlize Theron) and Max (Tom Hardy) barely stop moving for the entire runtime, and somehow the film still finds room for a real emotional core underneath all that momentum. Miller even released a black-and-white cut of the film later, closer to his original vision, and watching it that way makes the practical stunt work even more obvious. This is what pure, uncut adventure filmmaking looks like when nobody’s cutting corners.
Tom Cruise broke his ankle jumping between two buildings in London while filming this movie, and rather than cut around it, the final film keeps the footage of him limping and wincing in visible pain right after the landing. That’s the whole philosophy behind this franchise by this point that if it can be done for real, Cruise is going to do it for real, audience safety briefings be damned.
The HALO jump sequence, where Ethan Hunt skydives from an altitude high enough to require oxygen, was actually performed by Cruise himself, not a stunt double, not a green screen. Christopher McQuarrie builds the whole movie around stunts that are dangerous, and somehow the plot, dense with double crosses and fake identities, never gets lost underneath all that. This is the entry in the franchise where everything, story and stunts both, finally line up at once.
Every pilot shot in this movie is real footage taken from inside actual F-18 fighter jets, with the actors themselves operating the cameras while pulling real G-forces, and you can feel that authenticity in a way no amount of CGI could ever fake. Tom Cruise spent years just getting the cast physically prepared to handle flying like that before filming even started.
But the reason this movie actually got to me was watching Val Kilmer return as Iceman, knowing that Kilmer’s real voice had been damaged by his own cancer treatment, and hearing the film use AI-restored audio to let him speak just one more time on screen. That scene is about an actor and a character both fighting to still have a voice, and it’s the reason this legacy sequel ended up hitting harder than the original film ever did.
May 27, 2022
131 minutes
Joseph Kosinski
Christopher McQuarrie, Ehren Kruger, Eric Warren Singer, Peter Craig, Justin Marks
Of all the casting coups performed by Marvel Studios over the years — the franchise has prominently featured legends such as Michael Douglas, Anthony Hopkins, and Cate Blanchett — few can top Robert Redford in Captain America: Civil War. The movie, which also marked the MCU debut of directors Joe and Anthony Russo, was modeled on the conspiracy thrillers of the 1970s, which became massively popular during Redford’s heyday as a leading man. In fact, he headlined some of the best ones. Who can forget All the President’s Men? In addition to that classic, Redford also starred in another movie that influenced Captain America: Civil War; it’s a movie that director Quentin Tarantino is a massive fan of.
Tarantino has praised the movie on several occasions as being a product of its times, highlighting how it turned cynicism against the government into populist entertainment. The film, he pointed out, was about as mainstream as it could be. It also featured Faye Dunaway alongside Redford, and was directed by Sydney Pollack. The movie follows a CIA agent whose job is to analyze print media from around the world, which Tarantino pointed out isn’t exactly a cinematic profession. But, he said in an appearance on Bill Maher‘s podcast, the movie found a way to make even reading on screen exciting. The film in question is currently streaming for free in the United States, where audiences who haven’t yet checked it out can do so.
We’re talking, of course, about Three Days of the Condor. Released in 1975, the film was a major hit, grossing more than $40 million against a reported budget of $7.8 million. The movie received an Oscar nomination in the Best Film Editing category, and is now sitting at a “Certified Fresh” 88% score on Rotten Tomatoes. The aggregator website’s consensus reads, “This post-Watergate thriller captures the paranoid tenor of the times, thanks to Sydney Pollack’s taut direction and excellent performances from Robert Redford and Faye Dunaway.” You can watch the film on Pluto TV in the United States. Redford, who passed away in 2025, made his final screen appearance in the blockbuster Avengers: Endgame in 2019. Stay tuned to Collider for more updates.
August 1, 1975
117 Minutes
Sydney Pollack
Lorenzo Semple Jr., David Rayfiel
It might be a superhero movie and an adaptation of a Greek epic that are stealing the theatrical spotlight, but horror remains a popular choice for movie lovers in 2026. Already this year, the devil’s favorite genre has delivered some of 2026’s best movies, including Severance star Adam Scott headlining the underrated Hokum, Sam Raimi finally returning to the genre with Send Help, Nia DaCosta continuing one of horror’s best franchises with 28 Years Later: The Bone Temple, and Kane Parsons breaking records with his directorial debut Backrooms.
But the best horror entry from 2026 so far, and perhaps one of the best of the decade, is undeniably Focus Features’ Obsession. Curry Barker‘s breakout masterpiece has certainly cemented itself as one of the most astonishing success stories of this century, becoming the highest-grossing non-animated original film of the past decade, the first film with a sub-million production budget to earn over $200 million this century, and even the highest-grossing original horror movie of this century. The movie was also a huge hit with critics, with Inde Navarrette‘s jaw-dropping performance destined to earn Academy recognition in 2027.
As Obsession continues proving a favorite on the streaming charts, another new horror arrival has established its place among the best on Prime Video. At the time of writing, The Devil’s Mouth, which was first released on July 29, is the most-streamed movie on Prime Video in the world. The pulse-racing popcorn flick follows a group of friends as their venture into an underwater cave system is rudely interrupted by a vicious bull shark. Avengers: Doomsday‘s Kathryn Newton and X-Men: Apocalypse‘s Lana Condor star alongside Gavin Casalegno and Nico Hiraga in the movie, which was directed by Jeff Wadlow, who previously delivered the 2024 sleeper streaming hit Imaginary.
A movie such as The Devil’s Mouth will be more interested in streaming figures than critical acclaim, but it is impossible to ignore just how negative the reception to the film has been. On review aggregator Rotten Tomatoes, Wadlow’s creature feature has earned just 34% from critics and 16% from audiences. One critic described it as “not bad enough for it to be fun, ridiculous but not enough to inspire a drinking game,” whilst another said it is “one of those ‘I hate all these characters and can’t wait to see them die’ movies.” Make up your own mind on Prime Video now.
Make sure to stay tuned to Collider for all the latest streaming stories.
July 29, 2026
106 minutes
Jeff Wadlow
2026 has been one of the biggest years in horror history so far, with two of the most memorable smash hits releasing in just the last few months. The first horror movie that immediately comes to mind is Obsession, directed by the young Curry Barker. After grossing over $475 million at the box office against a $750,000 budget — this alone is enough to make it one of the most profitable movies of all time — Obsession is now streaming on Peacock, and the film is expected to earn some Oscar nominations come next year. The other horror movie that took over the world in 2026 was Backrooms, the A24-backed feature directed by the young Kane Parsons. After grossing almost $400 million at the global box office, Backrooms is finally set to arrive on HBO Max soon.
Before Backrooms or Obsession, though, there was another horror movie that debuted in late February that was a smash hit. The film in question is Scream 7, the latest sequel from the iconic horror franchise that first rose to fame in the 1990s. After grossing over $200 million at the box office against a $45 million budget, Scream 7 has since been available to stream on Paramount Plus. However, earlier installments in the franchise, including the first three Scream movies, have been available to watch on Netflix for a while now. Unfortunately, the streamer announced this week that the last day to watch the original Scream trilogy will be on August 23. Scream (2022) and Scream 6 (2023) will remain streaming on Netflix even after the older movies are removed from the platform.
Paramount has yet to officially confirm if Scream 8 is in the works, but stars such as Neve Campbell have expressed a desire to come back and do more. After this latest film grossed over $200 million at the box office, despite all the controversy and boycotts surrounding it, it would be surprising if Paramount wasn’t searching for some way to bring the franchise back to the big screen. Many fans promised not to see Scream 7 in theaters or on streaming once Paramount fired Melissa Barrera after she voiced her pro-Palestine stance on social media. Her co-star, Jenna Ortega, vowed not to come back to the franchise in solidarity with Barrera.
Check out the original Scream trilogy before it’s removed from Netflix later this month, and stay tuned to Collider for more updates and coverage of the franchise.
December 20, 1996
112 minutes
Kevin Williamson
Bob Weinstein, Cary Woods, Cathy Konrad, Harvey Weinstein
The movie is not out yet, and at the time of writing, the 2026 Oscar Race has not really begun. It won’t end until 2027, either, because that’s when the award show celebrating the movies of 2026 will be held. Anyway, the movie just alluded to is Digger, which feels like a movie Tom Cruise is using to finally win an Oscar. He’s been very committed to numerous rules for about 40 years now, having been a genuine movie star in just about all that time. There are things about him not related to his film work that suggest it’s not all been smooth-sailing, but if you want to stick to the acting, it’s been a pretty phenomenal career so far.
Given how many good movies he’s been in, and how good he’s been in so many of them, it feels a bit surprising that Tom Cruise does not yet have a competitive Academy Award. Digger might be the one to do it (and hey, working with Alejandro G. Iñárritu worked for Leonardo DiCaprio, who finally won his Oscar thanks to his role in The Revenant), but there are arguments to be made that it should’ve happened for Cruise earlier. These are five particularly strong performances from the past that he should’ve – or at least comfortably could’ve – won Academy Awards for playing.
The easiest movie to put here is Born on the Fourth of July, because this was kind of Oscar bait. Oscar bait is not automatically a bad thing, and Born on the Fourth of July is potentially the good kind of Oscar bait. It’s a movie about a man who becomes an anti-war activist after being paralyzed during his time in combat in the Vietnam War. He was a real-life man named Ron Kovic, and his memoir was what the movie was based on. And then, yes, Tom Cruise is the one who plays Kovic, and he certainly dives right in trying to capture all the big and challenging emotions that would come with experiencing one’s life being changed in such an impactful way.
An honorable mention is probably worth giving to Rain Man. Tom Cruise was very good in that film, and it was another movie that was clearly going for Academy Award success, doing so by winning Best Picture, and then Dustin Hoffman won Best Actor. Rain Man and Born on the Fourth of July being released close together did a lot to emphasize Cruise’s skills as a true dramatic actor, rather than “just” someone who could do comedies or action movies. And Born on the Fourth of July did give him his first Oscar nomination, so it’s easy to highlight it as the first time he maybe should’ve won an Oscar… that year, though, Best Actor went to Daniel Day-Lewis for My Left Foot (not an entirely dissimilar sort of performance, in terms of what was asked for) instead.
At the dawn of the 21st century, Tom Cruise starred in what ended up being the final Stanley Kubrick movie, and it was kind of a psychological thriller by the name of Eyes Wide Shut. Emphasis on “kind of” because this is not an easy movie to break down and define genre-wise. Some people call it an erotic thriller, but it’s probably more of an anti-erotic film, honestly. It’s about lust and infidelity, to some extent, but more focused on insecurity, and what happens when one man drives himself mad after the revelation that his wife thought about cheating on him. On that front, it’s almost a dark comedy, just because of the intensity of his downward spiral, but then it’s got more of an emphasis on dark thrillers and drama than something like After Hours, which is another movie about a man’s wild and increasingly surreal nighttime odyssey in New York City.
It’s one of the most ego-free performances Tom Cruise has ever given, and one gets the sense he was just 100% down for whatever Kubrick wanted to do in challenging him.
Tom Cruise does have to have a certain level of charm here, playing a well-off doctor who still isn’t quite an elite, and as his journey gets him uncomfortably immersed within the lifestyles of some actual elites (many of them remaining shrouded in mystery), Cruise also has to showcase a great deal of vulnerability and insecurity. It’s one of the most ego-free performances Tom Cruise has ever given, and one gets the sense he was just 100% down for whatever Kubrick wanted to do in challenging him. Of course, the likes of Nicole Kidman and Sydney Pollack also impress during the scenes they’re given, but Tom Cruise is really at the center of this one, and the strength of his performance is a big reason why Eyes Wide Shut ultimately has the (sometimes mortifying) impact it does.
Those who enjoy the act of raining on a parade might like to jump in right now and say something along the lines of, “Oh, all the make-up/prosthetics did the work for Tom Cruise in Tropic Thunder,” and yeah, that did some of the work, but there was more to Cruise’s transformation than just that. Tom Cruise could’ve looked the way he usually did, without being physically larger and having his usual hair, and it would still have felt like a truly transformative performance. He’d gone big with Born on the Fourth of July, and there’s another 1999 movie that’ll be mentioned in a bit where he got to chew on some loud material, but in Tropic Thunder, as Les Grossman, he gets to be aggressive and bombastic but in a comedic rather than dramatic way.
Sure, Les doesn’t think he’s in a comedy, and he might ordinarily be a terrifying character if Tropic Thunder were a more serious look at the film industry, but within this particular movie, and alongside a bunch of other comedic performances (there are so many notable people in Tropic Thunder), Cruise emerges as hilarious. He really does steal the relatively few scenes he appears in, in Tropic Thunder, and it’s the kind of thing that felt like it could’ve gotten a Best Supporting Actor nomination at the Oscars, were it not for Robert Downey Jr. earning that nomination for his role in the same movie. Not that two nominees can’t come from the same film, but it’s rare. Anyway, both actors transformed and went all-out for these particular roles, and Tom Cruise’s sheer intensity and ridiculousness in Tropic Thunder really does have to be seen to be believed.
If a brief rant can be given, why is it that action movie performances don’t get held to the same regard as more drama-focused performances? Like, great action stars are asked to do a lot on screen, and even if they’re not literally doing 100% of their stunts the whole time, there is still so much to be said about how physically demanding it would be to continually holding yourself in such a way where you seem powerful and cool, but not like you’re trying too hard. There is just this knack that some actors have for being very convincing in action movies, and Tom Cruise is one of them, with him demonstrating this the best in his Mission: Impossible films.
He’s good in all of them, and is even pretty good in the ones that overall aren’t the best, but Mission: Impossible – Fallout is a real highlight of the series, owing to how well it’s paced, how high-quality all its action is, and how locked in Cruise and his co-stars are throughout all 150-ish minutes of its high-stakes/relentless runtime. Mission: Impossible – Fallout would still be good with an okay performance at its center, but here, even more so than usual, Cruise treats playing the character of Ethan Hunt with the same gravitas and commitment that most Shakespearean actors would have if they were playing Macbeth on stage. So, why not consider such a performance Oscar-worthy? It really is, or at least it really should be.
With Eyes Wide Shut, it’s like, okay, Tom Cruise wasn’t nominated. So there’s a bit more of a leap involved in saying, “Actually, he should’ve won.” With Born on the Fourth of July, he was nominated, but his main competitor was Daniel Day-Lewis, and that’s always going to be difficult to go up against someone like him. Tropic Thunder and Mission: Impossible – Fallout… sure, they weren’t really dramas, or the kinds of movies that tend to get a lot of love from the Academy Awards. Enter Magnolia, though, and this really is the one that should’ve won Cruise an Oscar. He was nominated for Best Supporting Actor, and is incredible as one part of a huge ensemble cast, playing an intense motivational speaker/pickup artist named Frank T.J. Mackey.
Like all the main characters in Magnolia, Frank struggles with various human things, and Cruise brings it during the scenes when he’s supposed to be dominant and aggressive, and then also shines in the moments where his character ends up being vulnerable. He does a great deal with what ends up being not all that much screen time, and he deserved the win over Michael Caine in The Cider House Rules. Caine’s a legendary actor, and he’s not all that bad in that movie, but he’s been so much better in so many other things, including the movie for which he won his first Oscar: Hannah and Her Sisters. Him winning a second one for The Cider House Rules when Tom Cruise in Magnolia was right there is honestly baffling.
December 17, 1999
189 minutes
Paul Thomas Anderson
Paul Thomas Anderson
Philip Baker Hall
Jimmy Gator
Sony’s distinct line of PlayStation consoles has proven to be some of the most important and massively successful video game consoles of all time, with many of them completely revolutionizing their industry in the wake of their success and influence. Between the five home consoles and two handheld consoles, PlayStation has cemented itself as one of the pillars of the video game industry that has largely continued into the modern day.
However, not every console with the PlayStation banner is created equally, as certain consoles have had an overwhelmingly larger staying power and impact on wider culture and video games as a medium. Whether it be the varying quality of the game releases or the impact of the technological improvements upon release, there are many different facets that go into the lasting legacy and strengths of each PlayStation console. Each console has its fans, as none of these consoles are truly bad; it’s just that some of them are clearly more well-regarded by gamers and the public at large.
The PlayStation Vita is a sad case of potential that was simply outmatched by the offerings of other handheld consoles. PlayStation’s final handheld console certainly has its strengths, with some good tech and memorable cult classic indie games, but in terms of what Sony envisioned the console to be, it severely underperformed. The hardware was too expensive, the prospects of backwards compatibility weren’t nearly explored, and so much of the console’s hopes and dreams were placed on the performance of middling, unenjoyable AAA experiences.
Especially with the increasing dominance of mobile games, the Vita’s failures proved to be enough of a reason for Sony to completely abandon creating true handheld consoles, focusing entirely on home console experiences. Still, the handheld has its dedicated fans for this game, with a comfortable controller and a digital storefront of top-notch indies giving gamers a great high-end portable gaming experience before the likes of the Nintendo Switch or Steam Deck.
It’s hard to get a full grasp on the legacy of the PlayStation 5, considering the fact that the console is still getting releases as the current PlayStation console. However, shifts in the gaming industry and confusing decisions by Sony have really put a damper on the staying power of the console, especially when it was already following up the massively memorable PlayStation 4. So much of the console’s difficulties trace back to the larger focus on PC gaming than ever before, as nearly all the PlayStation 5 exclusives have managed to find their way to PC after enough time.
It’s proven to largely eliminate the identity of the PS5 as its own entity, as while it may be outperforming the Xbox Series X, that only goes a long way when 90% of its best games can be played by other means. What really cements the lower placement of the PS5, however, is Sony’s recent shift away from physical discs and leaning into an all-digital strategy that has resulted in overwhelming backlash from all fronts. It isn’t without its great games — and, in fact, offers some of the best PS games of the 2020s — but it’s a far cry from the legacy that PlayStation has maintained throughout the years.
The PlayStation 3 is the perfect example of how the launch of a console does not paint the entire story of a console’s lifespan, as the console transformed and evolved after one of the worst console launches of all time into a genuinely respectable competitor to the Xbox 360. With a shockingly high initial price point and a lack of real system-selling experiences, early impressions were certainly lackluster, with Sony actually losing their dominance in the console market to Microsoft for the first and only time.
The PlayStation 3 soon grew to be an exceptional competitor thanks to a wide array of great first-party experiences as well as more third parties growing used to the initially difficult confines of the PS3 development hardware. Games like The Last of Us, LittleBigPlanet, and the Uncharted Trilogy helped save the reputation of the console and ushered in a new generation of PlayStation fans. Its initial hiccups prevent it from having a higher place, but the console still has a special place in the hearts of many PlayStation gamers.
PlayStation’s first foray into the handheld gaming marketplace, the PlayStation Portable, proved that Nintendo wasn’t the only capable of creating a great portable gaming experience, creating a more gamer-centric handheld experience that held its own against the monolithic titan of the Nintendo DS. The PSP is defined by its surprisingly effective tech for a handheld as well as its great library of original games, with several of these games proving to be so great that they eventually got ported over to home consoles.
The console also had a built-in interface and hardware that allowed users to not just play games on the device, but also watch movies, listen to music, and view photos to create an effective all-in-one experience, especially in an era before true smartphones. There is a great deal of nostalgia and passion for the PSP as it was truly pushing the potential of handheld consoles forward in the wake of its success, even if it never ended up being as successful as the Nintendo DS.
PlayStation as a brand simply wouldn’t exist without the console that started it all, as the strengths and dynamic features of the console took the world by storm and made for a true competitor to the pre-existing titans of the industry. With dynamic 3D 32-bit graphics and a catalog of some of the absolute greatest video games of the ’90s, a massive chunk of PlayStation’s legacy stems back to just how well they captured the hearts of gamers on their first console outing. Many fan-favorite PlayStation franchises saw their first entries on this console, while many highly celebrated third-party franchises reached new heights of quality on the console as well.
The console still has an undeniable legacy all these years later, not just because it’s the first PlayStation, but because of just how timeless and exceptional so many of the gaming experiences on the console were and still are today. Any console would be considered one of the greatest of all time when it features games like Final Fantasy VII, Metal Gear Solid, Resident Evil, and Crash Bandicoot. It speaks volumes that despite being their first console, the original PlayStation still managed to be the best-selling console of the 5th generation of consoles, with its focus on young adults instead of children paying dividends to the PlayStation brand as a whole.
With Microsoft arguably winning the previous console generation, Sony had a lot to prove with the PlayStation 4 to prove that they were still one of the masters of home console gaming. What resulted is one of the most shining and impactful eras in PlayStation history, pushing the brand and reputation of the console to new heights and with a glorious upgrade in graphical fidelity. For many modern gamers, the PlayStation 4 is the defining PlayStation console, as it featured many of Sony’s most celebrated gaming experiences and overwhelmingly dominated the eighth generation of consoles.
The console did an exceptional job of appealing to exactly what gamers were wanting out of the industry at the time, with an embracing of third-party and indie games while also supplying its own array of top-notch first-party experiences. It’s an absolute classic console that was the premier way to experience many of the best games of the 2010s. It easily deserves a placement ranking among the greatest consoles of all time, although it only comes just short of the peak of what PlayStation is capable of as a dominating force in home console gaming.
It’s impossible to understate just how much of a cultural powerhouse the PlayStation 2 was, being so effective as a home console that it almost single-handedly reshaped the industry in the wake of its success. With so many great games, massive leaps in technological capabilities, and the versatility of having a built-in DVD player, it’s no wonder the console became the best-selling video game console of all time. Even after the PlayStation 3 had been released, many gamers continued enjoying playing on the PS2 and utilizing it, as it really did have everything one would want out of a PlayStation experience.
PlayStation’s legacy and reputation as a titan of the industry may not have started with the PS2, but it was absolutely cemented in the wake of its success, proving that they were far from a one-time fluke but a continuous, dominating force in the industry. From system-selling exclusives like God of War and Ratchet and Clank to amazing third-party games like Resident Evil 4 and Grand Theft Auto: San Andreas, the quality on PS2 was simply unmatched.
What happens in Vegas doesn’t always stay in Vegas; sometimes it ends up on your TV screen.
Vegas has never met drama it didn’t like, so naturally, reality TV and Sin City were bound to become a match made in entertainment heaven. From “Pawn Stars” and “The Real World” to “Love Island” and “The Ultimatum,” some of reality TV’s biggest moments have played out in Las Vegas. If you’ve ever visited Vegas, chances are you’ve walked past more than just a few of the spots featured in reality TV shows.

In 2025, Netflix’s hit reality show “The Ultimatum: Marry of Move On” made Ariva Luxury Residences in Southwest Las Vegas its temporary reality TV hub. From mid-March to mid-May, the luxury apartment complex was homebase for the cast and crew, with many moments in the show being filmed there. From custom cast residences to the various amenities on property, Ariva was heavily featured in the season 4 of the reality show.
“Viewers will see many different areas throughout Ariva. Nearly all of our amenity spaces were utilized, including our pools, fitness areas, lounges, and outdoor gathering spaces,” Jessie Boskamp, Duty Manager of Ariva Luxury Residences told The Blast previously. “The cast also lived in our fully furnished, serviced residences, so those apartments became a major part of the filming as well.”
In addition to Ariva, the show filmed in a variety of locations around the valley, including at Skyjump at The STRAT, Lake Las Vegas, various restaurants, South Point, and other spots.

Back in the ’80s, a pawn shop called Gold & Silver Pawn Shop opened up on Las Vegas Blvd. by Richard “The Old Man” Harrison. Little did he know, but his business would become a hit reality show years later.
In July 2009, “Pawn Stars” debuted, highlighting the family business buying, selling, and pawning unique items. Alongside Richard, his son Rick Harrison, Rick’s son Corey “Big Hoss” Harrison, and Corey’s friend Austin “Chumlee” Russell, starred in the popular series.
The pawn shop itself served as the show’s primary filming location, and because it’s still open for business, fans can step inside and experience the setting that made “Pawn Stars” a television phenomenon. If you’re lucky, you may even catch one of the guys in the store for a meet-and-greet event. In fact, Rick has a few coming up this month and next month.

Back in 2002, the 28th floor of The Palms Casino Resort became the backdrop for a season of “The Real World Las Vegas.” The cast reportedly lived in a custom-built penthouse from February through June 2002. That season became one of the most popular seasons of the series.
MTV brought the cast back to Vegas five years later for “Reunited: The Real World Las Vegas” and filmed in the same Palms suite that was said to be nearly 3,000-square-feet. After the show, the suite was converted into a luxury accommodation.
Then in 2011, MTV decided to revisit Vegas for the 25th season of “The Real World.” This time, they filmed at the then Hard Rock Hotel & Casino with the cast living in a custom four-bedroom suite with a hot tub, bar, and bowling alley.
The suite was Room 1168 in the Hard Rock’s Casino Tower and was more than 4,000-square-feet. The Hard Rock Hotel & Casino is no more, as the property was rebranded as Virgin Hotels Las Vegas in 2021.

While reality star Lisa Vanderpump has had ties in Las Vegas for many years, she’s now even more prominent with her brand new Vanderpump Hotel that opened a few months ago.
While renovating The Cromwell into the Vanderpump Hotel, Bravo filmed “Vanderpump Rules: Lisa Las Vegas” to show the process of opening the new hotel. The reality show was announced around the time the hotel opened in May 2026. No air date has been given yet for the limited time series.
The official description reads, “Lisa Vanderpump has been ruling over the Las Vegas Strip for years now, with three hotspot restaurants serving up chic cocktails in her signature whimsical settings. Now, she is expanding her Vegas empire through the opening of her high-profile namesake hotel. In this limited series, we follow the behind-the-scenes dash to make the property worthy of the Vanderpump brand. LVP shares what inspired her newest enterprise and pulls back the curtain on the down-to-the-wire drama. The series will culminate at the Vanderpump Hotel’s lavish opening party, with fan favorite Bravolebrities celebrating the launch.”

This list was only the tip of the reality TV iceberg for Sin City. Many other shows have filmed either entire seasons or parts of a season in and around Vegas.
Other well-known reality shows that filmed in Vegas include “America Ninja Warrior” at South Point, “Penn & Teller: Fool Us” at the Rio, “Double Shot at Love” at Drai’s, “Storage Wars” at StorageOne Facilities, “Counting Cars” at Count’s Kustoms, “Love Island USA” at the rooftop of The Cromwell (now Vanderpump Hotel) and Drai’s, and many others.
Be sure to check out The Blast’s social media pages to see a video of some spots in Vegas where reality shows have filmed. And be sure to follow along for more Vegas stories, including spots seen in “The Hangover,” “Casino,” and other hit movies, as well as celebrity owned businesses, rooftop bars with great views, and more.
With the release and massive financial success of The Odyssey, Christopher Nolan has managed to further enshrine himself as not only one of the most popular filmmakers currently working, but perhaps even the current king of the Hollywood blockbuster landscape. Infused with plenty of clear influences and plenty of Nolan’s distinct auteurial vision, this grand adaptation of Homer‘s epic poem can already be counted among the best films of the 2020s so far.
It should come as no surprise, considering just how unprecedentedly large a cast ensemble it contains, that The Odyssey features several of the strongest and most memorable acting performances ever seen in a Christopher Nolan film. Not everyone in the cast delivers top-tier work, but eight actors in particular brought their absolute A-game, their performances standing out as some of the best that the fantasy epic genre has seen in years.
From his leading role in Danny Boyle‘s Yesterday to his brief turn in Nolan’s Tenet, Himesh Patel has had plenty of opportunities to show that he’s a highly talented and versatile actor. Thankfully, The Odyssey gives him plenty more of those kinds of opportunities. He plays Eurylochus, Odysseus’ second in command. In Homer’s original poem, he’s more of an unpleasant troublemaker, whereas in Nolan’s version, his challenges of Odysseus’ decisions feel like they come from a place of true care and loyalty.
Patel brings a tremendous amount of depth and range to a role that often demands an awful lot of him, allowing Eurylochus to feel like a three-dimensional friend to Odysseus. The Odyssey is one of the best adventure movies since 2000, in large part, precisely because it allows its actors to imbue their characters with emotional layers beyond the mythical archetypes they’re supposed to represent. Patel succeeds at that task wonderfully, even if some of the other performers he shares scenes with outshine him at times.
Zendaya is one of those gargantuan stars who currently rule Hollywood, an actress who has come a long way since her Disney Channel days and is currently a box office magnet. She further demonstrates why she’s gotten to this point in The Odyssey, where she plays the goddess Athena, who protects Odysseus throughout his journey. Nolan also throws a brilliant twist regarding her character toward the end of the film, which completely recontextualizes Zendaya’s performance and makes it get better on rewatch.
With her participation in the Dune films, Zendaya is able to claim that she’s been in some of the best sci-fi epics of recent times. Now, with The Odyssey, she can say that she also starred in one of the best fantasy epics of the last 50 years. The script doesn’t give her a lot of dialogue to work with, but Zendaya elevates Athena’s character through her deeply meaningful facial expressions and powerfully understated demeanor.
A whopping 16 years after having shared the screen with stars as huge as Leonardo DiCaprio in Inception, Elliot Page returns to Nolan’s filmography in The Odyssey. Contrary to what the army of transphobic trolls over on Twitter claimed, Page plays Sinon, a character who actually originated not in the original Homeric text, but rather in Virgil‘s Aeneid. Nolan’s decision to bring that character over to his version of The Odyssey ended up being brilliant, because Sinon stands out as one of the film’s most memorable characters—largely thanks to Page.
It had been years since Page’s last appearance in a major mainstream motion picture, and what a return to form this is. The actor is only present in a few key scenes of the story, but he absolutely steals every single last one. The sequence in the Underworld particularly stands out, giving Page a chance to show off his emotional range and tremendously potent facial expressions in a scene that serves as a major turning point in the narrative, largely thanks to him.
Anne Hathaway reunites with Nolan after The Dark Knight Rises and Interstellar in The Odyssey, and this may very well be the meatiest and most emotionally complex role that the director has offered Hathaway thus far. Nolan has always struggled to craft three-dimensional, fully-rounded female characters, and even though Penelope (Queen of Ithaca and Odysseus’ patient wife) isn’t really his best work in that department, Hathaway brings a level of depth to the role that those who love the source material should find captivating.
It’s arguably no small reason why The Odyssey is one of Nolan’s highest-rated movies on Letterboxd. Penelope often acts as the film’s beating heart, her fortitude and fierce sense of agency anchoring the emotional core perfectly, and that’s all in Hathaway’s credit. There’s a balance between poignant vulnerability and unbreakable strength in the actress’ performance that can’t have been easy to find, and the whole movie is all the better because of it.
From family comedies like the Ice Age movies to meaty dramas like Carlito’s Way, John Leguizamo has proven on several occasions just how hugely versatile he can be, but his praises have often gone tragically unsung. That is no longer the case. If Leguizamo’s has been one of the most talked-about performances from The Odyssey, it’s for good reason, because this really is the most admirable work of his whole career.
As Eumaeus, Odysseus’ swineherd and unwaveringly loyal friend, Leguizamo gets to prove the surprising length of his dramatic chops without ever feeling out of place. The actor’s strong yet tender performance is crucial to the story’s emotional effect, not to mention the seamlessness of Leguizamo’s acting as a blind old man. Gentle yet impossible to ignore, the actor’s take on Eumaeus will likely go down in history as one of the most beloved performances in Nolan’s filmography.
Only the greats are able to take a very limited amount of screen time and hijack every last second of it. That must mean that Samantha Morton is one of the greats, because her brief yet unforgettable turn as Circe, the fearsome witch of the island of Aeaea, is a scene-stealer unlike any other performance a Nolan movie has ever had to offer. She’s central to a terrifying sequence that proves why this is one of Nolan’s best R-rated movies to date.
The mystery and hugely effective body horror of the entire Circe-centric section of The Odyssey largely relies on the quality of Nolan’s direction, but Morton’s performance is just as much to thank. Scary without ever going overboard into cartoonish territory, Morton adds so many layers of emotion and interpretation to Circe. Indeed, she ends up sticking out as one of the movie’s most memorable characters, despite the fact that she’s in it for a strikingly short amount of time.
Reuniting with Nolan after their collaborations in Interstellar and Oppenheimer is Matt Damon. Taking on the gargantuan role of Odysseus, one of the most iconic heroes in the history of fiction, was a casting decision that drew deserved skepticism upon its announcement. Now that The Odyssey has been released into the world, however, even those who weren’t doubtful about Damon as Odysseus ended up having their expectations smashed.
Of course, it helps that the script gives Damon far more to work with than any other actor—but even in a vacuum, the star’s version of Odysseus is wonderfully compelling, nuanced, and multifaceted. Starring in one of his best movies about going home, Damon delivers what’s perhaps his best performance in decades. His Odysseus is a tortured, psychologically complicated man carrying the weight of guilt and trauma around for years, and Damon sells that just as well as he does the film’s moments of wonder and adventure.
Long gone are the days of Robert Pattinson being looked down on as “the sparkly guy from Twilight.” Across fields like voice acting in movies like The Boy and the Heron, indie cinema in masterpieces of the stature of The Lighthouse, and blockbusters like The Batman and Nolan’s own Tenet, Pattinson has established himself as one of the most chameleonic actors of his generation. In The Odyssey, he offers yet another transformational performance, this time as Antinous, Penelope’s sleaziest and most persistent suitor.
Antinous is the closest thing that The Odyssey has to a main antagonist, and Pattinson sells the part like an Oscar-nomination-worthy pro. Sneaky, cunning, and deliciously cowardly, the actor’s take on Antinous makes him a presence to look forward to every time the film cuts away from Penelope and her suitors. It’s the sort of performance that has everything: presence, depth, entertainment value, and an actor at the very top of his already-phenomenal game.
When Warner Bros. unveiled the first trailer for Kevin Costner’s ambitious passion project, a four-part Western film franchise that the actor was aiming to self-finance, a cheer erupted among fans of old-school Hollywood studio movies. This was during the heyday of the superhero genre, and in the aftermath of the director-driven blockbuster Oppenheimer’s industry-altering box-office success. Warner Bros. had famously shot itself in the foot with a controversial 2021 release strategy that saw each movie on its slate being released day-and-date on HBO Max and in theaters, resulting in Christopher Nolan publicly severing ties with the studio. Among the many victims of Warner Bros.’ 2021 strategy was Cry Macho, which many believed could have been Clint Eastwood’s final film as a director.
The era of filmmaker-driven studio movies, especially at Warner Bros., was believed to be over. But then management changed and with it, the studio’s strategy. Suddenly, movies like Sinners and One Battle After Another were given the green light. And among the studio’s 2024 slate was Costner’s ambitious Western. This was the project that the actor-director quit Yellowstone over, and now, the series’ first two installments were getting a major theatrical release. The first part was scheduled for release in June, followed by the second part in August. But then, tragedy struck. The first installment underperformed at the box office, which resulted in Warner Bros. shelving the sequel. The third installment, which Costner had partially begun working on, was put on hold.
We’re talking, of course, about Horizon: An American Saga — Chapter 1. The movie was partially self-financed by Costner at a reported production budget of $50 million, but it grossed only $38 million worldwide. The hope was for it to find its audience at home before future installments are produced. While the movie is available for audiences in the United States on HBO Max, it saw a bump into the top 10 movies on Prime Video in Ireland this past week. Horizon received mixed reviews and is now sitting at a 51% score on the aggregator website Rotten Tomatoes. But the world’s biggest Western aficionado, Quentin Tarantino, singled it out as one of the few recent movies that he really enjoyed, alongside Steven Spielberg‘s West Side Story.
Stay tuned to Collider for more updates.
June 28, 2024
182 minutes
Howard Kaplan, Mark Gillard
Editor’s Note: The following article contains spoilers for Spider-Man: Brand New Day.
Marvel Studios is moving full steam ahead with its upcoming X-Men reboot, as three of the iconic mutant heroes have either entered or are set to enter the Marvel Cinematic Universe. First up is Jean Grey (Sadie Sink), who was introduced as an antagonist in Spider-Man: Brand New Day. Next, Marvel announced that it had cast Samara Weaving as Emma Frost, the telepath better known as the White Queen. Now, a new report says that Heartstopper alum Kit Connor is the frontrunner for Cyclops. These casting choices hint that director Jake Schreier is looking to take inspiration from one of the most popular X-Men storylines of the modern era, Astonishing X-Men.
Written by Joss Whedon and illustrated by the late John Cassaday, Astonishing X-Men was a return to form for the X-Men. It brought fan-favorite Kitty Pryde, aka Shadowcat, back into the fold. It saw the X-Men returning to wearing more traditional superhero outfits after Grant Morrison had them donning black leather for New X-Men. More importantly, the biggest shake-up saw Cyclops and Emma Frost leading the Xavier Institute for Higher Learning, effectively signaling a new era in X-Men comics. If Schreier is drawing from these comics, he could deliver a version of the X-Men that fans and newcomers have yet to see on the big screen.

What makes Astonishing X-Men such a standout among X-Men comics is how it manages to push the franchise forward while still staying true to its core concepts. The very first storyline, “Gifted,” features a “cure” that will strip mutants of their powers, raising debates around the halls and within the X-Men themselves as Beast contemplates taking the cure himself. It also introduces Ord, an alien warrior who created the cure as he fears a prophecy that one of the X-Men will destroy his homeworld. The fact that the opening arc managed to touch on the cosmic elements of classic X-Men stories like “The Dark Phoenix Saga” and the underlying metaphor of being feared for your differences that fuels the X-Men makes it a great read, and the perfect foundation for a new X-Men movie.
In casting Cyclops and Emma Frost, the X-Men reboot doesn’t just signal that it’s taking cues from Astonishing X-Men, but that it’s separating itself from 20th Century Fox’s take on the mutant heroes by shifting the focus to a different group of mutants. Most of the storylines in Fox’s X-Men movies tended to revolve around Wolverine, Magneto, or Charles Xavier; if Marvel Studios is taking those three off the board, it frees up Schreier to focus on other characters and remind people why they’re so iconic. Cyclops is a prime example of this, as X-Men ’97 has reminded fans why Xavier chose him to lead the X-Men.
It’s no surprise that Astonishing X-Men might be one of Jake Schreier’s inspirations, as he and the rest of the crew on the X-Men reboot have expressed their love for the comics on multiple occasions. Perhaps the biggest fan is screenwriter Lee Sung Jin, who revealed that he was a massive fan of Gambit in addition to growing up with the X-Men:
“I’m such a huge fan of X-Men. My dad was in town for my daughter’s birthday recently. My mom and dad both were, and I told him the news about X-Men, and he was like, ‘That’s the good one, you know.’ I have such fond memories of me and my dad, Saturday morning, every morning, waking up, I think it was 9:00 or 10:00 a.m. central time, and we’d watch every single episode, read the comics, and I was a huge Gambit fan growing up, so the love is very strong.”
Lee’s X-Men fandom means he can offer a great solution to a major obstacle in the upcoming reboot: how Cyclops and Emma interact. Most fans know about the duo’s romantic relationship in the comics, but given that Samara Weaving is 12 years older than Kit Connor, they probably won’t see that relationship forming on screen. Whatever Lee, Schreier, and the rest of the crew do with the story, it’s clear that they understand what makes the X-Men tick, and why Astonishing X-Men is a perfect storyline to draw inspiration from.
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