Dialogue is the lifeblood of drama. Sure, film is a visual medium, but the script is where character reveals itself, where conflict sharpens, and where ideas take on emotional weight. Some of the all-time best drama movies use their writing to cut, seduce, persuade, and destroy.

The titles below understand that what characters say (and just as importantly, what they choose not to say) can carry more tension, emotion, and meaning than any spectacle. Whether sharp and cutting, poetic and expressive, or quiet and painfully honest, all of them reel the viewer in with phenomenal writing.

‘Who’s Afraid of Virginia Woolf?’ (1966)

Image via Warner Bros. Pictures

“What a dump.” In Who’s Afraid of Virginia Woolf?, a middle-aged couple, George (Richard Burton) and Martha (Elizabeth Taylor), invite a younger couple over for drinks, a decision that spirals into a long, alcohol-fueled night of psychological warfare, emotional games, and brutal honesty. Adapted from Edward Albee’s play, the movie is powered by verbal sparring, with George and Martha using words to wound, manipulate, and expose one another. The conversations are rhythmic and always escalating, growing more intense, more personal, and more destructive as the night progresses.

The dialogue is impressively psychologically complex, too. The insults are vicious, but beneath them lies something deeper, a shared dependency that neither George nor Martha can escape. Indeed, the lines are usually layered with subtext. Characters rarely say exactly what they mean, instead dealing in hidden motivations and emotional undercurrents. It’s all in service to some incisive thematic exploration that was unusually frank for the time, delving deep into issues of marriage, failure, and identity.

‘Glengarry Glen Ross’ (1992)

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“Always be closing.” Based on David Mamet‘s Pulitzer-winning play, Glengarry Glen Ross follows a group of desperate real estate salesmen competing for leads in a high-pressure office environment. That premise might seem mundane, but it becomes a sharp, dark examination of ambition and moral compromise. It helps that the cast is incredibly stacked, including a murderer’s row of heavy hitters like Al Pacino, Jack Lemmon, Alec Baldwin, Alan Arkin, and Ed Harris, though the sturdy foundation for their performances is the stellar screenplay.

Mamet’s script is built on repetition, rhythm, and profanity (lots of profanity). It’s often poetic, almost musical, but also incredibly aggressive and intense. In this world, language is power. Every character is a salesman, and every interaction becomes a pitch, a bluff, or a negotiation; words are used to persuade, intimidate, and deceive. As a result, the movie is practically overflowing with memorable, quotable lines. The most famous ones come from Baldwin’s big monologue, a perfect encapsulation of the characters’ ruthless worldview.

‘A Streetcar Named Desire’ (1951)

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“I have always depended on the kindness of strangers.” Yet another masterpiece that started as a stage production, A Streetcar Named Desire features Vivien Leigh as Blanche DuBois, who arrives in New Orleans to stay with her sister Stella (Kim Hunter) and her brutish brother-in-law Stanley (Marlon Brando). Their apartment becomes a psychological pressure-cooker as Blanche’s fragile illusions clash with Stanley’s harsh realism. While the movie is most famous now for Brando’s phenomenal performance, a milestone in the development of method acting, the script is also brilliant.

It’s heightened and, at times, lyrical, but also deeply human. Every impulse and subtle detail feels simultaneously precisely crafted and organic. Crucially, Tennessee Williams gives each character a distinct voice, reflecting their desires, fears, and delusions. A lot of the narrative momentum comes from the contrast between Blanche’s poetic, almost theatrical speech and Stanley’s blunt, physical language. All in all, a phenomenal confluence of script, stars, and director.

‘The Social Network’ (2010)

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“You don’t get to 500 million friends without making a few enemies.” Aaron Sorkin is one of the leading lights of 21st-century screenwriting, and The Social Network is his magnum opus. He and director David Fincher chronicle the rise of Facebook and the legal battles that followed, focusing on Mark Zuckerberg’s (Jesse Eisenberg) complicated relationships with his co-founders and peers. The dialogue is fast, precise, and intellectually charged, perfectly suited to the hyper-competitive world of tech entrepreneurship.

Exchanges are barbed, witty, and frequently hilarious, but also loaded with emotional baggage. Fundamentally, it is a portrait of a sprawling digital empire and the lone, insecure man at its center. In the process, The Social Network becomes a broader statement on our current era of social media, algorithms, inequality, and tech oligarchs. The film was way ahead of the curve, making it one of the masterpieces of the early social media age. Its themes resonate even more today.

‘Network’ (1976)

Image via Metro-Goldwyn-Mayer

“I’m as mad as hell, and I’m not going to take this anymore!” In Network, a struggling television network exploits the mental breakdown of its news anchor, turning his on-air rants into a ratings phenomenon. Rather than scaring viewers off, Howard Beale’s (Peter Finch) unhinged ravings make the show more popular than ever. As the spectacle grows, the line between news, entertainment, and deception blurs completely. This setup becomes the launching pad for one of the scorching media satires in movie history.

The characters are defined by how they speak, from the cold, calculated language of the executives to the emotional volatility of Beale. Today, given the rise of reality TV, audience capture, rage bait, and politics as entertainment, Network feels more topical than ever. The movie’s admirers include Aaron Sorkin, who said of it: “No predictor of the future, not even Orwell, has ever been as right as [Paddy] Chayefsky was when he wrote Network.”

‘All About Eve’ (1950)

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“Fasten your seatbelts. It’s going to be a bumpy night.” In All About Eve, an aging Broadway star, Margo Channing (Bette Davis), befriends a seemingly devoted young fan, Eve Harrington (Anne Baxter), who slowly ingratiates herself into Margo’s life and career. But what first seems like innocent admiration gradually reveals itself to be something far more calculated and dangerous. Soon, the characters are wielding words like weapons; sparing, posturing, flattering, attacking. The writing strikes a fine balance between being stylish and truthful.

It’s polished and memorable, but it never feels empty. Every clever remark tells you something about status, ego, or hidden intent. It also captures the world of theatre and performance beautifully. These are people who live through presentation, image, and drama, so heightened language makes sense in this world. In this regard, writer-director Joseph L. Mankiewicz‘s screenplay is a masterclass in verbal elegance, filled with biting observations about ambition, aging, and performance, both onstage and off.

‘Before Sunset’ (2004)

Image via Warner Independent Pictures

“If there’s any kind of magic in this world… it must be in the attempt of understanding someone.” Most of the movies on this list shine with dialogue that’s witty, intricate, and carefully contrasted. Before Sunset, by contrast, is great because it feels so natural and real, more like a slice-of-life. The second installment in Richard Linklater‘s beloved trilogy reunites Jesse (Ethan Hawke) and Celine (Julie Delpy) nine years after their brief encounter in Vienna. Over a single afternoon in Paris, they walk, talk, and reconnect, revisiting the choices and regrets that have shaped their lives.

Their conversations feel spontaneous, as if we are eavesdropping on real people rather than watching characters perform. This feeling of authenticity and urgency is heightened by the fact that the movie unfolds in real-time. Finally, the dialogue is deeply layered. On the surface, the characters talk about their lives, careers, and experiences. But beneath that, every line carries unspoken feelings: regret, longing, missed opportunities, and unresolved love.

‘The Godfather’ (1972)

“I’m gonna make him an offer he can’t refuse.” Together, Francis Ford Coppola and Mario Puzo turned the latter’s pulpy novel into perhaps the greatest screenplay in gangster movie history. It’s practically Shakespearean, following the shifting power dynamics of the Corleone crime family as patriarch Vito Corleone (Marlon Brando) passes the mantle to his son Michael (Al Pacino). The crux of the story is Michael’s transformation from reluctant outsider to ruthless leader.

The character development is fantastic, and the script is loaded with memorable quotes. One of its greatest strengths is its economy and control. Characters rarely speak more than necessary, and when they do, every line carries weight. For figures like Vito, every conversation is deliberate. Each word has been carefully chosen to maintain authority or conceal intention. Rather than being melodramatic, the dialogue in The Godfather tends to be quiet and restrained, which only increases its impact.

’12 Angry Men’ (1957)

Image via United Artists

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“It’s not easy to stand alone against the ridicule of others.” 12 Angry Men takes place almost entirely in a jury room, where twelve men must decide the fate of a young boy accused of murder. As deliberations begin, one juror (Henry Fonda) challenges the others to reconsider the evidence, sparking intense debate. There’s no action to speak of. Rather, dialogue serves as the engine of both character and plot. The film unfolds entirely through argument, with each juror bringing their own biases, experiences, and perspectives into the discussion.

A big part of what makes the dialogue so compelling is its progression: each exchange shifts the balance, slowly transforming certainty into doubt. The exchanges are psychologically and morally tense. Impressively, these conversations feel realistic while also serving as a microcosm for society as a whole. For instance, certain characters become stand-ins for entire points of view, yet they’re never reduced to archetypes.

‘Casablanca’ (1942)

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“Here’s looking at you, kid.” In Casablanca, Humphrey Bogart turns in one of his most iconic performances as Rick Blaine, a cynical nightclub owner in wartime Morocco, forced to confront his past when his former lover Ilsa (Ingrid Bergman) re-enters his life, accompanied by her resistance leader husband. The story boasts one of the most quotable scripts ever written, a fantastic fusion of romance, humor, and political tension.

Characters speak with a kind of controlled charm, especially the dry, understated Rick. Thematically, their conversations move seamlessly between personal emotion and the larger wartime context. In addition, their exchanges are simply striking and memorable. So many lines from this film are now famous the world over: “We’ll always have Paris”, “Of all the gin joints, in all the towns, in all the world, she walks into mine”, and, of course, “Louis, I think this is the beginning of a beautiful friendship.”

Rihanna is likely still shaken following the terrifying incident earlier this month when a woman fired multiple rounds into her home. 

The suspect, who continues to remain in custody, formally entered her plea in the case during a recent court appearance.

Ivanna Ortiz Formally Enters Not Guilty Plea In Rihanna’s Home Shooting

According to PEOPLE, on Wednesday, March 25, during an appearance at Los Angeles Superior Court, Ivanna Ortiz pled not guilty to a host of charges connected to her allegedly shooting at Rihanna’s home on March 8 while the superstar and her three children were inside.

Among the charges against her, the most serious is attempted murder, as Ortiz is accused of brandishing an AR-15 rifle and firing off 10 rounds at Rihanna’s home.

In addition to attempted murder, Ortiz is facing 13 other felony counts, including 10 of assault with a semiautomatic firearm and three of shooting at an inhabited dwelling or camper.

After initially being held on $10 million bail, that amount was reduced to the current sum of $1.875 million. If convicted, Ortiz could receive a sentence of life in prison. 

Ortiz Told Estranged Husband To ‘Renounce’ Rihanna Weeks Before Shooting

Per TMZ, in court documents in Ortiz’s case, her estranged husband, Jed Valdez Sangalang, shared an email he received from Ortiz on January 26, in which she told him to “renounce” the Fenty Beauty founder.

“I need you to renounce Rihanna and confess that I’m better than her,” Ortiz’s email read. “Let it be done. You gotta let me know so that door can be closed.”

Following the news of the shooting and Ortiz’s arrest, Sangalang has now asked the court for full custody of the former couple’s child and also the designated rights for sole decision-making. 

The Suspect Has A Lengthy And Bizarre Online History Of Attacking Rihanna

According to the New York Post, Ortiz’s social media posts targeting Rihanna have been uncovered after she fired multiple shots at the singer’s home, including the most recent post on February 23.

“@badgalriri — Are you there? Cause I was waiting for your AIDS 5-head self to say something to me directly instead of sneaking around like you’re talking to me where I’m not at,” Ortiz wrote on Facebook.

A post on February 17 from Ortiz also mentioned the false claims of Rihanna having AIDS and included Drake in the rant. 

Additionally, on January 5 via her YouTube channel, Ortiz held a Praying Woman’s Journal and used it to rebuke Rihanna’s influence. In the video, Ortiz repeatedly described Rihanna as “corny” and “stupid,” implying that there was spiritual warfare and that people needed to avoid the singer’s negative influence. 

Ortiz also bizarrely accused Rihanna of trying to kill her. 

“Listen, Rihanna, when you die, God is taking me to my future,” she said. “You want to kill me? Shut the f-ck up. Okay, shut the f-ck up. Yeah, she’s a witch. She’s a witch. I’m a watchman. She’s a witch.”

Ivanna Ortiz Has Documented History Of Mental Illness

Hal Roen, the attorney of Ortiz’s estranged husband, shared that she was previously placed on an involuntary psychiatric hold, according to TMZ. Roen also revealed that Ortiz was “Baker Acted” in Florida, meaning she was held against her will under state law.

Roen told the outlet that Ortiz is “articulate” and “very believable” despite her mental health issues. “If you sit down with her, she’s very convincing. But she does bizarre things,” he said.

A Florida judge also cited Ortiz’s mental state in April 2024 during a custody battle with ex Sangalang. The court documents obtained by the outlet stated that the legal umpire awarded Sangalang full physical custody of his child with Ortiz.

Despite her attempts in court to deny the allegations, the judge highlighted the “concerning testimony” about Ortiz’s mental health and stripped her of all contact with her child.

Ortiz was barred from having any in-person, phone, video, text, email, or third-party communication with her child until further order from the court. 

She was also previously arrested for domestic violence, resulting in probation.

Rihanna Left Her Los Angeles Home After The Shooting And Has Not Returned

A day after the shooting at her home, Rihanna was photographed traveling in a line of black SUVs to the private aviation terminal at Van Nuys Airport on Monday, March 10, according to Daily Mail.

The Fenty Beauty founder and Grammy winner was then said to board a small twin-engine jet to fly out of Los Angeles.

Comedy legends Cheech Marin and Tommy Chong have been through just about everything together on-screen. They’ve commandeered a van made of weed across the border in Up in Smoke, accidentally sparked The French Revolution in The Corsican Brothers, and, of course, did a lot of joking and toking along the way. However, it’s now time for the stoners’ final road trip to head home. Collider can exclusively reveal that Paramount+ is adding Cheech & Chong’s Last Movie to its catalog on a very fitting day — April 20. It’ll also be exactly one year since their retrospective feature first rolled into theaters to celebrate their favorite holiday.

Part buddy road trip movie and part documentary, Cheech & Chong’s Last Movie follows two of comedy’s best buds on a long, laugh-filled drive to a place called “The Joint.” Along the way, they reflect on their lifelong friendship, from childhood to the heights of their careers in the 1960s through the 80s and beyond their break-up, also exploring how their counterculture stoner humor evolved into a brand that stands strong over 50 years later with a catalog of movies, packed concerts, platinum-selling records, and even a mobile game. Interspersed are plenty of archival footage, iconic moments from the duo on-screen and on-stage, animations, interviews, and more that add further context to their rise in a landscape that didn’t respect comedians and their impact as blockbuster rock stars of stand-up. Beneath all the laughter is a portrait of a tender bond that’s survived plenty of bumps in the road and is now as strong as ever.

Paramount+ landing this heartfelt and hilarious project is fitting considering it’s where Marin and Chong began their cinematic journey. “We’re coming home,” director David Bushell said about Last Movie‘s upcoming home release. “Cheech & Chong’s first movie, Up In Smoke, was released by Paramount back in 1978. We cannot think of a better partner to premiere Cheech & Chong’s Last Movie on streaming. They Keep Smokin’!” It was Paramount’s release of Up in Smoke that helped cement the duo as forever icons, earning $104 million worldwide on a budget of just $4 million. Bushnell also helped produce the documentary alongside Chong’s daughter, Robbi Chong, with John Paul DeJoria, Gary Haseley, Cleo Segura Sherrel, and Christian Selleron set as executive producers.

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‘Cheech & Chong’s Last Movie’ Is Riding High With Critics and Audiences

Last Movie was about as heroic a send-off as Cheech & Chong could hope for when it debuted at SXSW in 2024. Bushell’s directorial debut was met with widespread praise and an 87% score on Rotten Tomatoes, thanks in part to the pair’s enduring chemistry when they’re together and the film’s surprisingly touching look back on a lifetime of friendship. Collider’s Jeff Ewing was also high on the feature in his 8/10 review, calling it “a fantastic and revealing celebration of two comedy legends” and praising the light and breezy road trip format that lets the two be vulnerable to each other. Now, at long last, fans will get to see this duo hash it out one last time from the comfort of their homes.

Cheech & Chong’s Last Movie arrives on Paramount+ on April 20. Check out the official trailer in the player above.

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Release Date

April 25, 2025

Runtime

123 minutes

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Director

David L. Bushell

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Justin Timberlake and Jessica Biel’s relationship is once again under intense scrutiny, with mounting reports suggesting years of strain may finally be catching up to them. 

What once appeared to be a solid Hollywood marriage has been tested by public controversies, legal trouble, career setbacks, and personal challenges. 

While the couple continues to show a united front in public, insiders say the reality has been far more complicated, with Biel now reportedly reaching a breaking point after enduring a series of difficult moments.

Justin Timberlake Marriage Rumors Intensify As Insiders Speak Out

Justin Timberlake’s relationship with Biel has reportedly been under pressure for years, with insiders now laying bare just how serious things have become.

“Rumors have been swirling for ages that Justin and Jessica’s marriage could be headed for trouble,” a source told the Daily Mail, pointing to the imbalance in their careers and ongoing personal challenges. 

They cited Timberlake’s last tour, describing it as a “near disaster” and his career as “waned,” as opposed to Biel who has been working on various projects lately. 

The insider didn’t hold back, adding, “There’s only so much she can put up with,” and claiming that “Justin’s almost pushed her to the edge.”

Another source echoed similar concerns, explaining, “Justin and Jessica have had a bumpy marriage, and spending time together hasn’t always been at the forefront for them – which obviously puts a strain on a relationship.” 

They added bluntly, “His DUI and Lyme Disease issues haven’t helped either.”

Timberlake’s Arrest Forces The Couple Back Into The Spotlight

Justin Timberlake’s June 2024 DWI arrest in Sag Harbor became a defining moment in the couple’s recent struggles.

During the incident, the singer was seen struggling through field sobriety tests, telling officers they were “really hard tests.” 

He also claimed he had “one martini and I followed my f-cking friends home,” while pushing back on being treated like a criminal and explaining that he was on a world tour.

His legal team initially tried to block the release of the footage, arguing it would expose “intimate, highly personal, and sensitive details” and lead to “public ridicule and harassment,” but a settlement ultimately allowed it to be made public.

He later pleaded guilty to impaired driving, accepting a $500 fine, 25 hours of community service, and a 90-day license suspension. 

At the time, insiders said Biel was “embarrassed” and hoped the incident would serve as a wake-up call, especially as the couple was forced to relive the moment following the release of the footage.

Justin Timberlake’s Past Controversies Continue To Follow Him

Long before the arrest, Timberlake had already faced moments that placed strain on his marriage.

In 2019, photos of him holding hands with co-star Alisha Wainwright in New Orleans sparked widespread backlash. 

The singer later issued a public apology, admitting to a “strong lapse in judgment” after drinking way too much, while insisting that nothing happened.

The following year, he was criticized for speaking about the realities of 24-hour parenting during the COVID-19 pandemic, comments that were widely mocked online.

Then came renewed scrutiny from Britney Spears’ memoir, which included claims that he cheated and that she had an abortion because he “wasn’t ready” to become a father. 

While Timberlake did not directly respond to those allegations, he told fans during a performance that he was “apologizing to absolutely nobody.” 

Each controversy added another layer of pressure to an already complicated relationship.

Timberlake’s Career Setbacks And Health Battle Add Strain

Beyond personal controversies, Justin Timberlake has also faced professional setbacks that insiders say have added to the strain.

His Forget Tomorrow World Tour faced significant criticism and setbacks, including multiple cancellations reportedly tied to illness and complaints about lackluster performances. 

Fans took to social media to express disappointment, describing the shows as “an absolute disappointment” and saying everyone hated his mid-performance and overall stage performance. 

Others bluntly stated that “he sucked” and looked like he couldn’t wait to get off the stage!”

Amid the backlash, Timberlake revealed he had been diagnosed with Lyme disease, describing it as “relentlessly debilitating, both mentally and physically.” 

He admitted he had considered canceling the tour while trying to shed some light on what he had been up against behind the scenes.

While he dealt with these challenges, Biel remained focused on her own career, filming projects in Morocco, Slovakia, and Hungary.

Justin Timberlake’s Future Plans Could Create Even More Tension

Looking ahead, Timberlake may face new challenges tied to his next moves. Insiders claim a potential NSYNC reunion could become another sticking point. 

“One of the reasons there hasn’t been an NSYNC reunion is because Justin would have to devote so much time to it which would take him away from Jessica and their family, and she doesn’t like that,” a source explained.

“She feels that he doesn’t have to do a reunion. She doesn’t want him to and would rather he focus on the future,” they added.

Despite everything, another insider insisted there is still hope, saying “there is still enough love there” and that Timberlake “wants it to work, so that’s why it is right now.”

They added that if the duo were ever to break up and get divorced, it would not be on Timberlake’s watch, but because Biel wants it. 

“He never wants to lose her,” the insider stated, noting that the “Mirrors” singer would rather stay in a miserable relationship with the chance of making it great again than choose divorce.

The Scary Movie franchise was originally developed by Keenan Ivory Wayans alongside Shawn and Marlon Wayans, with Keenan directing the first two films. The out-of-the-box franchise isn’t exactly what anyone would refer to as “peak comedy,” but it has still managed to withstand time for several decades and reliably keep general audiences entertained for 90 minutes. The movies, most of which star the irreplaceable Anna Faris, Shawn Wayans, Marlon Wayans, and Regina Hall, are silly and absurd, with notable jokes so dumb, lewd, crass, and occasionally corny that many might often feel a tad embarrassed when they find themselves giggling along. These spoof movies mock contemporary horror films such as The Ring, Signs, and What Lies Beneath, as well as other popular films from over the years, like 8 Mile, Thelma & Louise, and Boogie Nights.

They inspired multiple copycats, each worse than the previous one, with none of them coming close to being capable of recreating the original’s unexpected but deserving success. Like so many franchises, the Scary Movie series is inconsistent, chaotic, and irresistible; it ranges from cult comedy classics to noteworthy films that have become a staple in pop culture. However, there is something to be said about its sheer commitment to absurdity and stupidity. When looking at all five films together, it’s not exactly difficult to declare which of the Scary Movies is the best and which is the worst. The series’ early entries are not only the best-received but the most beloved among modern audiences, but is Scary Movie 3 better than Scary Movie or Scary Movie 2? The answer might be more shocking than you think (and timely to discover now that Scary Movie 6 is just around the corner).

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‘Scary Movie 5’ (2013)

Image via Dimension Films

It’s not an overstatement to say that Scary Movie 5 is among the worst movies ever made and the worst in the franchise; it makes its predecessors look like masterpieces, and that’s saying quite a lot. This movie has so much contempt for the intelligence level of its viewers, it’s shocking and quite baffling. There’s no sugar-coating it; it’s bad in every possible way. Even dreadful films are usually somewhat aware of the fundamentals of movie-making, like spatial awareness and basic film editing — not Scary Movie 5, which is a movie that fails miserably at even those simplest tasks. Some would think they just didn’t even bother trying in this film and were just doing it based on some contract agreement.

The film attempts to spoof the Paranormal Activity film franchise and other popular films like Guillermo Del Toro‘s psychological thriller Mama and the Oscar-nominated Black Swan starring Natalie Portman, but there isn’t a single laugh to be found or heard among audiences (not even a little giggle). It’s hard to reconcile that people were actually paid pretty good money to make this half-attempt travesty, especially with so many talented artists working their butts off on it to get by. While watching this cinematic train wreck, the average viewer will most likely feel incredibly embarrassed for everybody involved, especially Ashley Tisdale and Simon Rex, two actors who are way too good to be involved in this unacceptable trash. In other words, some movies really shouldn’t exist, and Scary Movie 5 is by far one of them.

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‘Scary Movie 2’ (2001)

Image via Dimension Films

While no great feat, Scary Movie 2 alleviates some of the issues that plagued the original Scary Movie, resulting in a fairly decent sequel with some new and familiar talent on board. The film takes place in a spooky mansion where a social experiment is being conducted with Cindy and her friends selected as the lucky few participants due to their previous involvement with the mass murders and paranormal events from the first film. For one, Scary Movie 2 parodies some of the all-time best horror movies, including The Exorcist, The Haunting, Poltergeist, and The Amityville Horror (and randomly a spoof on a Nike commercial, which is pretty entertaining). There is also a very foul-mouthed parrot that adds a bit of derogatory shock value to the film’s overall comedy. It also has the added strength of great comedic actors like the legendary Tim Curry, Chris Elliot, and David Cross, elevating average material. The film also adds in some non-horror films, like the Oscar-winning film, Titanic, and Charlie’s Angels, which mix things up a bit plot-wise compared to the first film.

While not a complete comedy revelation, Scary Movie 2 has a fair number of jokes that are surprisingly decent and occasionally laugh-out-loud funny (“that’s my strong hand!”) The cinematography, sound design, overall acting by a colorful cast, and solid visual effects are a big improvement from its predecessor, mainly because of the large increase in the film’s budget. However, its music and gross-out gags are more overdone in this sequel, often threatening to take the film in uncomfortable and unfunny directions. Like other uneven and overly vulgar comedies, Scary Movie 2‘s quality depends on the mood of whoever is watching it. With that said, viewers should watch it only if they’re already in a good mood or willing to let some over-the-top moments pass.

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‘Scary Movie’ (2000)

Image via Dimension Films

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Let’s be honest, Scary Movie is a weird but one-of-a-kind movie that spawned a different kind of comedy franchise by spoofing some of the most popular horror films, such as Wes Craven‘s Scream, I Know What You Did Last Summer, and The Sixth Sense. There are plenty of jokes that haven’t aged well and are politically incorrect — maybe even cruel by today’s standards — but it still has some moments that have become iconic among original fans. Whatever you may think, it rises, if not necessarily soars, on the strength of a perfectly chosen cast that vastly improves what’s on paper. Faris and Hall are comedic geniuses, and the heart and soul of the film, and their abilities are on full display in this first installment. However, the supporting cast is equally impressive, with Marlon and Shawn Wayans, Shannon Elizabeth, and Jon Abrahams embracing the film’s unhinged humor.

Still, not everything is great in this first installment. While the film takes from several films, it is primarily a parody of the Scream films. Scary Movie’s biggest failure is that Scream is already a meta-satire of the traditional slasher horror film and a far more clever, funny, and highly memorable one, for that matter. It might seem easy to just discard Scary Movie as the film equivalent of a basic photocopy of a photocopy, but it does have a variety of other films it parodies that help the movie’s overall plot (no matter how ridiculous it may get) stand out a bit. However, there is a level of genuine genius in what it did: launching a profitable franchise, initiating a cinematic movement that marked the nineties’ era, and propelling the careers of many of its stars to new heights. Scary Movie is stupidly brilliant, surprisingly quotable, and annoyingly entertaining. It offers nothing more than what it advertises, and honestly, how many films can truly say that?

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‘Scary Movie 4’ (2006)

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Scary Movie 4 is the second film in the humorous franchise directed by legendary spoof filmmaker and director David Zucker, who co-directed some of the best American comedies of all time, including Ruthless People, Airplane!, and The Naked Gun. Scary Movie 4 is so lightweight and breezy that when it ends, it feels like no time has passed at all. It’s a welcome mockery of the J-horror craze of the early nineties, insanely intense and graphic torture porn like the Saw series, and several alien invasion blockbusters, primarily Steven Spielberg’s War of the Worlds starring Tom Cruise. The movie also features several cameos by celebrities, most notably NBA star, Shaquille O’Neal and famed talk show host Dr. Phil, who both find themselves in one of Jigsaw’s vile games.

Iconic comedy actor Leslie Nielsen returns with his legendary spoof credentials to the floor, portraying the incompetent and bizarre President of the United States of America. His scene parodying President George W. Bush’s infamous “My Pet Goat” fiasco is a wild stand-out moment, but it does cross a slight line, which is excusable considering the tone of the film. Faris reliably delivers a stellar performance and remains the funniest attribute of the entire film series. Her wistful inclinations and earnest naivety provide even the silliest jokes with an unusual layer of truthfulness and honesty. Hall’s character, Brenda, also makes a miraculous return after her apparent death in the previous entry, mainly because this series is nothing without her and Cindy, and anything is possible in this franchise. Scary Movie 4 is a relentlessly humorous and entertaining, turn-your-brain-off experience and a more than satisfying end to the Scary Movie saga as fans knew and loved it.

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‘Scary Movie 3’ (2003)

Image via Dimension Films

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The first film of the series to be directed by David Zucker, Scary Movie 3 is the most consistently funny entry of the entire film franchise. It features ridiculous spoofs of massive pop-cultural hits like The Ring, the Matrix films, 8 Mile, and M. Night Shyamalan’s Signs, and features many welcome additions to the series. Faris’ character, Cindy Campbell, is now a TV journalist investigating a series of cryptic alien crop circles and a mysterious tape that supposedly kills its victims seven days after they view it (sounds awfully familiar).

With the exit of the Wayans Brothers, the entire success of the movie is thrust onto Anna Faris and Regina Hall’s capable shoulders; suffice it to say, they more than delivered, but were helped by some newcomers such as Leslie Nelson, Anthony Anderson, Kevin Hart, and Queen Latifah. Faris has amazing comedic and even romantic chemistry with Simon Rex and spoof veteran Charlie Sheen, who nail their roles as brothers who own a farm, parodying the Mel Gibson and Joaquin Phoenix characters from Signs. The most well-written, tightly paced, and clever of the five Scary Movie films, Scary Movie 3 excels not only as a spoof movie but also as a genuine comedy, thanks to its memorable gags, overall top-notch performances, and its willingness to be something more than just a cheap mockery of horror movies.

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Scary Movie 3

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Release Date

October 24, 2003

Runtime

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84 minutes

Director

David Zucker

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Writers

Craig Mazin, Pat Proft

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Arguably one of the most iconic and popular musical acts of all time, The Beatles changed pop and rock music forever the moment they hit the scene. Maintaining the top spot as the best-selling music act ever, the boys from Liverpool made their mark thanks to their incredible songbook. Documenting the evolution of music through their own changing style over time, The Beatles‘ ability to shape music with their artistry and songwriting.

Each of their 12 official studio albums is stacked with incredible songs from top to bottom. But with hundreds of songs, which are their very best? It’s time to name the most perfect songs. Every fan of the band will likely have a different lineup, but for the purposes of this list, “perfect” will be defined by songwriting, musical construction, overall influence, and the song’s impact on the band’s musical evolution. This list is a celebration of four great artists and their very best work.

10

“I Want to Hold Your Hand” (1963)

The song that put The Beatles on the map in America was none other than “I Want to Hold Your Hand.” First dropping on Meet the Beatles! in the U.S. after not appearing on the UK version, With the Beatles, the John Lennon and Paul McCartney track exemplified the power of a bright and breezy two-minute pop song. Light and fluffy, and to the point, “I Want to Hold Your Hand” thrives through its catchy hook and universal lyrics of blossoming romance. With a two-bridge model and both Lennon and McCarthy taking the lead and singing in unison and harmony, “I Want to Hold Your Hand” resonated, knocking off their previous hit, “She Loves You” off the top of the podium. The song has been covered countless times and has infiltrated pop culture. Even when the song was reworked into a ballad for the jukebox movie musical Across the Universe, it highlighted the brilliance of the lyrics. At the end of the day, it’s about longing.

The track was met with an extremely warm welcome in the States. The song spread like wildfire with its infectious beat. Specifically crafted to appeal to an American market, “I Want to Hold Your Hand” succeeded at its mission, becoming the first number-one hit in America. Thanks to “I Want to Hold Your Hand,” the British Invasion officially began. Though, compared to the more complex songs that emerged during their musical evolution, the timing of “I Want to Hold Your Hand” was crucial, as it scratched the itch of music fans.

9

“Yesterday” (1965)

Beatlemania took over the world. So much so that the quartet was dropped into other media to maximize their presence. Between 1964 and 1970, they appeared in five major motion pictures, the second of which was Help! To tie into the film, the album included 14 tracks, seven of which appeared in the film. The other side of the album featured new songs, one of which included the most-covered song in music history, “Yesterday.” A song that came to McCarthy in his sleep, “Yesterday” was the first song to only feature a single member of the band, as McCarthy was joined by a string quartet as he sang and played acoustic guitar.

A melancholic song, “Yesterday,” shines through its simplicity, allowing McCarthy’s lyrics to be the star. Always tinkering with the song until it was included on the album, McCartney perfected it to the point that it became one of the greatest pop songs in history. Quite a sad breakup song, yet there is still a sense of hope in the lyrics and in McCartney’s vocals. That said, part of the song’s meaning may have been misinterpreted. During an episode of the A Life in Lyrics podcast that dissected this particular song, McCartney revealed that the lyric “I said something wrong, now I long for yesterday” may have been inspired by her mother.

8

“While My Guitar Gently Weeps” (1968)

Ah, the infamous White Album. Though it’s officially called The Beatles, it’s the album cover that helped it earn its name. The ninth studio album, and the only double album, is notorious for its diverse range of genres that produced wall-to-wall hits. The White Album is also known for some behind-the-scenes controversy, including Yoko Ono subverting the band’s policy of excluding wives and girlfriends. Nevertheless, leave it to George Harrison to use his talent to serve as a comment on the band’s disarray and lack of harmony. Harrison’s pain gave rise to the hauntingly beautiful “While My Guitar Gently Weeps.”

Having written the song following the band’s trip to India, the journey’s influence was present. With Harrison with double-tracked vocals and acoustic guitar, he credited Eric Clapton, who played lead guitar on the track, for helping him create the Beatles’ monumental track. Perhaps Harrison’s greatest composition, which served as his coming-of-age as a songwriter, the song was a staple on US rock radio. Why? It contains one of the greatest guitar solos. A strong showing from all four members of the band, even with the groundbreaking collaboration, “While My Guitar Gently Weeps” remains a shining gem.

7

“All You Need Is Love” (1967)

The moment you hear the first few bars of the French national anthem, “La Marseillaise,” you are easily transported into a mindset of joy and love. One of the most beloved tracks in the Beatles’ songbook, “All You Need Is Love,” has become a universal anthem through its song and message. Deliberately simple, the song garnered universal appeal. Written as Britain’s contribution to Our World, the first live global television production, the song reflected the utopian ideals mirroring the Summer of Love. An anthem for the counterculture’s embrace of the flower-power philosophy, “All You Need is Love” was a celebration that linked back to the aura of the last album, Sgt. Pepper’s Lonely Hearts Club Band.

A mostly Lennon contribution, the song utilized simple chord and line progression; the only experimental aspect of the track is found in the change in metre. The final reversal of “All you need is love” into “Love is all you need” became the perfect vocal button before the glorious cacophony of spontaneous ad-libs, which ranged from Glenn Miller‘s “In the Mood” and the band’s own, “She Loves You.” Because of the song’s musical accessibility, it became an anthem dedicated to universal love. Favoring idealism through its positive, uplifting atmosphere, the song continues to serve as the enduring motto for peace. Written for a moment, “All You Need Is Love” remains timeless.

6

“In My Life” (1965)

Music is meant to have purpose and significance. If there is one song that epitomizes this, it’s “In My Life.” With Lennon taking on the lyrics, the introspective song reflects a poetic look into his own past and relationships. Emotionally deep and artistically precise, the Rubber Soul track’s meditation on adolescent relationships diverged from the simplicity of the pre-Rubber Soul love tracks. “In My Life” marked a major and important shift for the band, reflecting their artistic maturity. Lennon referred to the song as his “first real major piece of work” because it was the first time he wrote about himself. And yet, the universal messaging resonated, making it feel personal to us all.

Though the song has been disputed over full musical authorship, it makes sense that Lennon and McCartney would want full credit, as the song is sensational. The instrumental bridge was one sticking point for Lennon, so George Martin composed something on piano that had shades of Baroque sounds, which ultimately, through playback at double speed, was reminiscent of a harpsichord. A song that has been used to mark milestones, “In My Life” is one of the band’s most sentimental songs that’s bound to elicit melancholy.

5

“A Hard Day’s Night” (1964)

As previously discussed, The Beatles appeared in films during their heyday, with the first being A Hard Day’s Night, which inspired the title track. The title, which originated with a passing statement from drummer Ringo Starr, launched an era for the band. A Ringo-ism became a hit for the band, topping the charts in both the United Kingdom and the United States upon release. Written on a night by Lennon during a long-running competition for the A-side song, “A Hard Day’s Night” begins with the iconic chord played by Harrison. Strong and effective, it opens both the film and the soundtrack and has become one of the most recognizable openings in pop music.

The song is about the narrator’s devotion to his lover, working hard in order to buy the things she wants. He may be tired, but his lover perks him up through love. Following a verse-verse-bridge-verse structure and adopting a major-minor feel within that bridge, “A Hard Day’s Night” was revered for its energy. A triumph of the band’s early era, “A Hard Day’s Night” represented the perfect marriage of commercial appeal and musical innovation.

4

“Blackbird” (1968)

The White Album truly produced some of the greatest songs in music history. Inspired by the call of a blackbird in Rishikesh as well as the civil rights movement, “Blackbird” is a top-tier song that many consider their very best. Written by McCartney, serving as his solo number, “Blackbird” served as a voice for the discriminated. A wonderfully poetic dissertation open to interpretation, the song serves as a metaphor for an awakening. Beautifully pleasant and strikingly tranquil, McCartney ensures that the lyrics are the defining element of the track. All you need is McCartney’s sweet vocals, the strum on the acoustic guitar, and the foot-tapping to be instantly hooked into the resilient message.

An empowering anthem with profound lyrics, “Blackbird” is one of McCarthy’s shining moments prior to his solo career. A pure moment of maturity, “Blackbird” is a call for unity, even despite the fracture within the band at the time. The song continues to transcend time. The song has been covered by many artists, ensuring the legacy of the song continues today. Understanding the significance of its meaning, when Beyoncé covers the song for Cowboy Carter, you know it’s a remarkable piece of music.

3

“Let It Be” (1970)

Let It Be marked the end of an era, as it was the final studio album from the quartet, coming a month following the group’s public breakup. Some of the most resonant tracks were on this album, but the title track left an everlasting impression. A simple song of acceptance despite a moment of contention within the band, “Let It Be” resonated on a variety of levels. A straightforward composition with a 4/4 rhythm and a simple four chords, “Let It Be” brought peace in a time of trouble. A mantra that became a coda for the band’s storied career, “Let It Be” was grounded in humanity.

There is a profound essence of hope and resilience in McCartney’s lyrics. Sung solely by McCartney, when you hear “Let It Be,” you stop and listen. One of the strongest ballads in their repertoire, “Let It Be,” seemed like the song that the band needed to go out on. Looking back, it’s almost a prophetic song, knowing there would never be reconciliation. Even with a remarkable songbook like very few other bands, “Let It Be” was a fitting way to remember the band fondly.

2

“Come Together” (1969)

There are many songs by the band whose opening bars transport you into a specific memory or space. The opening riffs are instantly recognizable. One such case was “Come Together.” The opening track on Abbey Road, “Come Together,” put the rock in rock and roll. A reactionary track that became a protest anthem against the Vietnam War, “Come Together” was a sonic sensation of musical complexity. With a tinge of blues and funk seeping through the laid-back vocals, precision on guitar, hypnotic bass, and swampy drums, “Come Together” showcased an expanse of the band’s musical vocabulary. Each member of The Beatles contributed something so distinct to the orchestration that, as cheesy as it sounds, when they came together, it became perfect.

Lyrically, the song is abstract. Still in the hazy drug era, it didn’t matter what was said before the chorus because the chorus was the statement. The feel was more important than anything. The nonsensical lyrics only contributed to the mood “Come Together” evoked. Of course, there was much controversy over the use of Chuck Berry‘s “You Can’t Catch Me,” with the copyright infringement case settled out of court. Yet, it didn’t deter the song’s success and lasting legacy. Many have tried to cover it, but no one can sing it quite like John Lennon.

1

“Hey Jude” (1968)

There are so many songs that I wish I could include on this list—“Something,” “Across the Universe,” “Oh! Darling,” “Get Back,” just to name a few—but the ten that made the cut are significant. But no Beatles song is more synonymous with the band than “Hey Jude.” Released in 1968 as a non-album single, the story goes that the ballad evolved from a song McCartney wrote to comfort Lennon’s young son, Julian Lennon, after his father left his wife, Cynthia Lennon, for Yoko Ono. As the lyrics suggest, it was meant to help foster a positive outlook on a sad situation. A song of hope, its beautiful message is one that is bound to get a reaction. Whether it’s tears of triumph or pain, “Hey Jude” is a song meant to make you feel something. It’s what music is all about, after all.

From a music perspective, the song starts out simply stated—McCarthy and a piano. But as the song builds, so does the instrumentation. The second verse adds an acoustic guitar and tambourine. Then it’s the electric guitar and the restrained drum kit. The piano becomes more pronounced. The subtle harmonies float through. McCartney showcases the full scope of his vocal range. And then the coda hits, the 40-piece orchestra wails, and a musical moment is born. Four minutes of “Na-na-na na.” Only The Beatles could get away with it! Whatever emotion you began with, you can’t help but find the triumph and na-na along, banging your head.

Though the song had connotations of Ono entering John and Julian’s life, it could also be taken as a cry from McCarthy to his bandmate. The lyrics hold so much weight. This was not a nonsensical song. It wasn’t a sappy love song. “Hey Jude” served as McCarthy’s blessing for John’s new relationship, while also acknowledging the loss of a friend and creative partner in the process. “Hey Jude” is an absolute sensation and forever one of the greatest songs ever written. It’s a musical work of art and an important contribution to the world. Reaching number one in several countries, “Hey Jude” proved that music will forever be universal.

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A Hard Day’s Night

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Release Date

July 7, 1964

Runtime

88 minutes

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Director

Richard Lester

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Writers

Alun Owen

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Gillian Anderson is teasing the upcoming “X-Files” reboot, sparking excitement among fans of the iconic sci-fi/thriller series. The reboot will have filmmaker Ryan Coogler writing and directing the pilot episode, bringing a fresh perspective to the beloved franchise that spawned one revival, two movies, and a spin-off series.

Gillian Anderson Says ‘X-Files’ Reboot Will Be Different

At an appearance at Awesome Con in March, “The X-Files” alum was asked about the new reboot of the sci-fi series and whether she had spoken with the director about the project. Anderson confirmed that she had, indeed, “had a few conversations” with Coogler.

“He’s such a cool guy, and so talented. And the pilot script is really good. I would say, have an open mind and give it a chance, because it’s gonna be f-cking cool. It really is,” Anderson shared with the audience.

Anderson went on to say that the reboot will be “different” and “special” but didn’t divulge other details.

‘The X-Files’ Reboot Is In Development At Hulu

Ryan Coogler’s ‘X-FILES’ series has greenlit for a pilot at Hulu

• Coogler will write & direct the pilot

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• Danielle Deadwyler will officially star

• Follows 2 vastly different FBI agents who form an unlikely bond when they are assigned to a long-shuttered division pic.twitter.com/OMXXMfmfP6

— DiscussingFilm (@DiscussingFilm) February 23, 2026

Coogler, most known for directing “Sinners,” “Black Panther,” and “Creed,” has been working on the “X-Files” reboot since 2023. In February, Hulu greenlit a pilot episode for the show, and the first major cast member was announced.

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Anderson and David Duchovny were the stars of “The X-Files,” playing Dana Scully and Fox Mulder, respectively. The two FBI agents, one a skeptic and the other a believer, team up to solve bizarre and unexplained cases as well as investigate government conspiracies that often test their beliefs.

The new series will focus on new characters, and actress Danielle Deadwyler will be taking on the role of one of the agents; her partner has yet to be named. The creator and showrunner of the original “X-Files,” Chris Carter, will serve as an executive producer for the reboot.

Ryan Coogler Wants To Create Something ‘Scary’

Coogler spoke about his vision for the “X-Files” reboot in April 2025 during an appearance on “Last Podcast on the Left.” The filmmaker expressed his excitement over the project, adding that he was “fired up” to work on it.

“Some of those episodes, if we do our jobs right, will be really f-cking scary,” Coogler noted, adding that he wants to pay homage to the original series but also create something new. “We’re gonna try to make something really great and really be something for the real X-Files fans, and maybe find some new ones,” he explained.

In another podcast, “Happy Sad Confused,” Coogler revealed that he took on the project, as he used to watch the show with his mother. “It’s one of the most beautiful American television shows ever made,” he said, adding that in the reboot, he intends to include “monsters of the week and also the overarching conspiracy.”

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Gillian Anderson Has Shown Interest In The Reboot

As Anderson said, she has been in contact with Coogler regarding the reboot and has been optimistic about the revival of “X-Files.” While promoting the movie “The Salt Path” in April 2025, Anderson briefly spoke about the reboot, saying that he thinks Coogler is the “perfect person” for the job and wished him the “best of luck.”

However, she also expressed her interest in appearing in the show, saying, “At some point, if the phone rings and it’s good and it feels like the right time, perhaps.” While addressing the filmmaker, she said, “Call me.”

Coogler shared that he has spoken to Anderson, saying, “She’s incredible, and fingers crossed there.”

In 2024, Duchovny was asked about his thoughts on the new “X-Files,” and he responded, “I don’t really have any thoughts on it. It seems to be a whole separate project. I wish them luck.”

Inside The ‘X-Files’ Franchise

“The X-Files” first aired in 1993 and ran for nine seasons, concluding in 2002. The show was later revived in 2016 for an additional two seasons, with Anderson and Duchovny reprising their roles as Scully and Mulder. The revival concluded in 2018.

In addition, two “X-Files” films were also released, the first in 1998 titled “The X-Files,” which premiered between seasons five and six, and the second, “The X-Files: I Want to Believe,” released in 2008 after the original run ended.

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The “X-Files” universe was further expanded with two spin-offs, “The Lone Gunmen” and ” Millennium,” each exploring new stories within the same world.

The pilot shoot for Coogler’s reboot is scheduled to start in May.

Jessica Alba’s red carpet hair always hits that sweet spot between polished and touchable — and for the Vanity Fair Oscars Party, it was all about soft, bouncy volume with movement. Celebrity hairstylist Brittney Ryan created the look by spraying Innersense Organic Beauty I Create Finish Finishing Spray onto a paddle brush, then brushing through Alba’s hair to sculpt that airy, lifted blowout without locking it into place.

This isn’t your typical “set it and forget it” hairspray. The formula is designed to be flexible and buildable, which means you can shape, brush through and refine your style without hitting that stiff, overdone point. It lets your blowout keep its bounce — the volume stays lifted, but the movement never disappears.

Get the Innersense Organic Beauty I Create Finish Finishing Spray for $28 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Plus, it feels incredibly lightweight. The mist is ultra-fine, so it disperses evenly and never concentrates in one spot, which is often what causes that crunchy texture. You can layer it at the crown for lift, through the mid-lengths for structure, or lightly at the ends for a polished finish — all without weighing the hair down or dulling its natural shine.

Related: Amal Clooney’s Glossy Hair Secret Is a $30 Shine Spray

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If there’s one person who consistently delivers that impossibly sleek, expensive-looking beauty vibe, it’s Amal Clooney. Whether she’s stepping out on a red carpet or a gala, her hair always looks glossy, smooth and totally rich. It’s the kind of shine that makes Us do a double-take, and wonder what she’s using. Turns out, her […]

This finishing spray also adds a subtle smoothing effect that makes hair look more intentional and refined. Flyaways are tamed, ends look a bit more defined and everything just falls into place a little easier. Rather than giving that overly glossy, lacquered finish, it creates a soft sheen that reads healthy and expensive, like your hair just naturally behaves this well.

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If your usual finishing spray makes your hair feel stiff or overworked, this is the kind of upgrade that changes the entire end result. Shop the spray for a red carpet-ready blowout today!

Get the Innersense Organic Beauty I Create Finish Finishing Spray for $28 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.

Looking for something else? Explore more finishing sprays here and don’t forget to check out all of Amazon’s Daily Deals for more great finds!

Related: Get Hilary Duff’s Cool-Girl Waves With This $34 Texture Spray

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Hilary Duff is coming clean. The pop artist, who is currently promoting her comeback album luck… or something, recently sat down with Alex Cooper of “Call Her Daddy,” discussing everything from details from her discography to what it was like growing up in the spotlight. While Duff definitely spilled some tea about the behind-the-scenes of […]

Some of the biggest blockbusters and most beloved classics are war movies. It’s a genre that always seems to fascinate people, for understandable reasons. However, there are also plenty of great war films that are not as famous or successful, but which are certainly still worth checking out.

The titles on this list look at war from unusual angles: through the eyes of children, reluctant soldiers, opportunists, or men trapped inside systems they cannot escape. These films may lack the scale or recognition of bigger titles, but they often offer something far more intimate and unsettling.

‘The Bridge’ (1959)

Image via Deutsche Film Hansa

“You must hold the bridge at all costs!” Set in the final days of World War II, The Bridge follows a group of German schoolboys who are conscripted into the army as the Third Reich collapses. Filled with naive patriotism and a desire to prove themselves, they are assigned to defend a small, strategically meaningless bridge. However, reality soon shatters all their illusions. Gunfire rains down, and casualties mount. Director Bernhard Wicki, a major figure of German postwar cinema, builds this premise into a harrowing anti-war statement, critiquing military propaganda in particular.

It’s also simply a tragic coming-of-age story, a portrait of innocence destroyed. At the beginning, the boys treat war as an adventure, but in the end, it’s little more than a nightmare. There are no grand victories for them; only confusion, fear, and irreversible loss. The combat is chaotic, frightening, and stripped of glory. The aesthetic is restrained and realistic, making the message hit all the harder.

‘Overlord’ (1975)

Image via Criterion

“I’ll probably be dead before tomorrow.” Overlord is another bleak but powerful World War II movie, full of food for thought. It centers on Tom Beddows (Brian Stirner), a young British soldier preparing for the D-Day invasion during World War II. Through a mixture of dramatized scenes and archival footage, the film traces his journey from basic training to the eve of the Normandy landings. A sense of inevitability hangs over him the whole way through. From early on, it feels as though Tom’s fate is already sealed.

The film’s style reinforces this unsettling mood. The fusion of news clips and a fictional plot is effective, reminding us that these events were very real. While Tom himself is a creation by the writers, he’s an everyman character, serving as a stand-in for countless young troops who were thrust into this war. Through him, Overlord examines World War II from a more meditative, philosophical perspective than one normally sees, less concerned with action than emotion.

‘Play Dirty’ (1969)

Image via United Artists

“In war, truth is the first casualty.” Michael Caine leads this one as Captain Douglas, a cynical British officer assigned to lead a group of misfit commandos on a dangerous mission behind enemy lines in North Africa during World War II. Their objective is to destroy German fuel depots, but internal rivalries and shifting loyalties threaten the operation from within. In particular, Douglas clashes with the rough, pragmatic Captain Cyril Leech (Nigel Davenport), a man with very different views on discipline and honor.

This setup becomes a tense men-on-a-mission movie in the vein of The Dirty Dozen, but with some class politics and social tensions thrown in. Indeed, Play Dirty is very much a genre movie, but one that frequently subverts audience expectations. It gets unusually bleak as it rolls along, and the characters are a little more complex than one might expect. Caine, as always, elevates his part, convincingly playing someone whose idealism is eroding in contact with reality.

‘My Way Home’ (1965)

Image via MAFILM Stúdió 4

“I don’t understand what you’re saying.” My Way Home is a lyrical Hungarian drama about a young boy (András Kozák) who escapes from a prisoner-of-war camp and attempts to make his way home across a war-torn countryside. Along the way, he forms a fragile, wordless connection with a Russian soldier (Sergei Nikonenko), despite the fact that they cannot understand each other’s language. Their bond becomes a quiet act of defiance against division.

Indeed, the film’s focus is on the possibility of human connection, even across the widest cultural and ideological chasms. It’s an anti-war movie that offers a few glimmers of hope. By removing traditional elements like battles and action, director Miklós Jancsó highlights the loneliness, fear, and randomness that often define the wartime experience. However, even in this grim environment, friendship is possible. The storytelling is fittingly minimalist: dialogue is obviously sparse, and much of the narrative unfolds through movement, silence, and observation.

‘Lacombe, Lucien’ (1974)

Image via 20th Century Studios

“I didn’t choose anything. It just happened.” This war drama was directed by Louis Malle, the filmmaker behind Au revoir les enfants and My Dinner with Andre. The title character (Pierre Blaise) is a bored and directionless French teenager living in rural France during the Nazi occupation. After being rejected by the local Resistance, he impulsively falls in with a group of collaborators working with the German authorities. From there, he becomes increasingly involved in their activities, not out of ideology, but out of convenience, curiosity, and a desire for belonging.

Blaise does a fine job in his role, fleshing the character out and making him feel strikingly real. He and Malle lean into Lucien’s messiness and complexity, as well as his ordinariness. He is passive and often morally indifferent, making some of his actions later in the film all the more disturbing. Through him, the movie raises uncomfortable questions around apathy and how easy it is to participate in oppressive systems.

‘Fires on the Plain’ (1959)

Image via Daiei Film

“I have nothing left to eat.” This Japanese film follows Private Tamura (Eiji Funakoshi), a soldier wandering through the Philippines during the final stages of World War II. Sick, starving, and abandoned by his unit, Tamura is left to fend for himself in a landscape where survival becomes increasingly desperate. He searches for food while encountering other soldiers who have been reduced to the same wretched state. What follows is a deeply grim study of war’s ugliest elements.

The realism is unflinching — Fires on the Plain shows us corpses, abandoned villages, and starving men, all of it disturbingly convincing. However, there are also occasional poetic moments amid the bleakness, and certain objects (like salt and a grenade) take on symbolic weight. This anti-war movie is psychologically intense, too. As Tamura’s condition worsens, the line between sanity and madness begins to blur. His journey becomes not just physical but existential, raising questions about what it means to remain human in extreme conditions.

‘The Train’ (1964)

Image via United Artists

“Art belongs to France.” The Train is an action-thriller directed by John Frankenheimer, best known for The Manchurian Candidate and Ronin. During the final days of World War II in Nazi-occupied France, a German officer (Paul Scofield) is obsessed with transporting stolen French art treasures back to Germany before the Allies arrive. Opposing him is our protagonist, a reluctant French Resistance railway inspector (Burt Lancaster), who is drawn into a dangerous mission to stop the train.

Both lead actors are strong here, and their dynamic is compelling. The German officer, in particular, is more interesting than your average baddie, driven by a genuine desire to preserve art, though one that takes twisted and pathological forms. On the directing side, Frankenheimer keeps the pace brisk and the tension high, serving up several killer set pieces using real locomotives and practical effects. The train crashes, explosions, and sabotage operations feel tangible, which is a key reason the movie works.

‘The Hill’ (1965)

Image via Metro-Goldwyn-Mayer

“This place breaks men.” The great Sidney Lumet made this one, though it’s not as well-remembered as his classics like 12 Angry Men or Dog Day Afternoon. The Hill unfolds inside a brutal British military prison camp in North Africa during World War II. There, soldiers who have committed disciplinary offenses endure harsh punishments at the hands of sadistic officers. Cruelest of all, they are forced to repeatedly climb a man-made hill under the scorching sun, a Sisyphean task meant to break their spirits.

At the center of all this is Joe Roberts (Sean Connery), a defiant prisoner who resists the authority of the guards. The focus here is very much on psychology. The central conflict is not between opposing armies, but between individuals and an oppressive authority structure. Lumet does a great job of conveying the emotional strain the characters are under, leaning into close-ups, stark lighting, and claustrophobic framing. The atmosphere is harsh but immersive.

‘Cross of Iron’ (1977)

Image via Constantin Films

“We’re here to kill Russians.” This lean, mean movie from Sam Peckinpah, the master of brutal cinema, bucks convention by having German soldiers as its main characters. Set on the Eastern Front, Cross of Iron follows a unit of German soldiers fighting against overwhelming Soviet forces. They include Sergeant Rolf Steiner (James Coburn), a hardened and pragmatic soldier who cares deeply about the men under his command. He clashes with Captain Stransky (Maximilian Schell), an ambitious officer obsessed with winning the Iron Cross for personal glory.

The film is intense and hardcore, with disorienting action sequences defined by mud, confusion, and deafening explosions. These scenes are frequently absurd, as well, with Peckinpah often juxtaposing moments of brutality with images that highlight its futility. Finally, on the thematic side, Cross of Iron is surprisingly ambiguous and intelligent. It avoids simple notions of good versus evil and instead highlights the shared suffering of individuals caught in a destructive system.

‘The Steel Helmet’ (1951)

Image via Lippert Pictures

“War isn’t what you think it is.” Sergeant Zack (Gene Evans) is an American soldier during the Korean War who survives an ambush and joins a small group of soldiers attempting to reach safety. Along the way, they must contend with enemy forces, unreadable civilians, internal tensions, and tough moral dilemmas. The movie was made on a low budget and tight schedule, which actually works to its benefit, giving everything a raw and urgent feel. At times, it almost seems like a documentary.

Plus, The Steel Helmet deserves credit for being thematically bold at a time when the Korean War was still underway. For instance, the film doesn’t hold back when it comes to critiquing ideological contradictions or racial tensions within the military. This approach was a break with most war movies of the 1950s, which tended to be patriotic and fundamentally upbeat. All in all, The Steel Helmet is a tense, smart movie that has aged well.

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The Steel Helmet

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Release Date

February 2, 1951

Runtime

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85 Minutes

Director

Samuel Fuller

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