In a nutshell, Whistle is about a group of high school kids terrorized by an Aztec death whistle. Originally thought to “summon the dead,” once someone is inclined to blow on this obviously very deadly, skull-shaped, probably doesn’t feel great to rub all over your lips, contraption, this whistle actually summons your death.
Directed by Corin Hardy (The Hallow) and written by Owen Egerton, Whistle dictates that your specific death is chasing you the moment you are born and is trying to catch up with you your entire life. Sometimes we die of old age, and sometimes we die young and far too soon, but blowing the whistle makes your future death find you in a matter of days. Death looks exactly like you and suffers from whatever you would have on your deathbed.
The Whistle Is Much Better Than It Should Be
Chrys (Dafne Keen) moves in with her cousin, Rel (Sky Wang), and starts at Pellington High, where she meets Grace (Ali Skovbye), her jock boyfriend, Dean (Jhaliel Swaby), and Grace’s friend, Ellie (Sophie Nelisse), whom Chrys likes. Hoping to blend in and forget her past, Chrys finds a whistle in her locker. After a shared detention, someone blows the whistle, and those who hear its piercing screech soon face death. Now, the survivors must uncover if they can escape the whistle’s deadly power.
There’s a strange art to Whistle; it shouldn’t be as good as it is. The film is a cliché high school drama, infused with the year’s bloodiest deaths so far. Chrys, being a lesbian, feels like a natural, non-stereotypical progression in the story. She’s gay and facing a world of trouble. That’s the main draw, aside from the Native American kazoo of death, massacring people for fun. The youth pastor-drug dealer-switchblade wielder isn’t essential, but horror films always find a use for such characters.
Chrys’s situation was already difficult before her introduction: she recently recovered from an overdose and her father’s death. Keen’s performance is withdrawn and hesitant, yet eager for normalcy. Chrys and Ellie are the film’s most grounded characters, likely explaining their attraction.
Advertisement
Yes, The Whistle Is Basically Final Destination
Whistle is not unlike any other horror film revolving around a cursed artifact; in fact, it’s incredibly similar. This is The Monkey with a different toy or Final Destination with a skull-faced instrument calling the shots. Whistle is Jumanji with fatalities and a little bit of The Frighteners just for good measure.
The film opens at a Pellington High basketball game. A player named Mason (Stephen Kalyn) is haunted by a burnt figure (I nicknamed him Crispy Carl) lurking in the bleachers. Mason noticeably freaks out during the game, but makes the game-winning shot. Not before the burnt figure, still smoking with embers glowing all over his body, lunges at him. Back in the locker room, Mason screams about it not being his time yet and takes the whistle out of his locker before smashing it on the ground. Later, thinking he’s cheated death, the burnt figure finds him in the shower and puts his burning arm down his throat. Mason’s teammates find him flailing about as his engulfed body burns to a crisp.
The Most Creative, Entertaining Horror Deaths In Years
The deaths in Whistle are super creative and among the most entertaining in a horror film in a long time. Some of them range from lung cancer to old age, but there are two deaths that are unbelievable. One involves drunk driving, and the other involves working at a sawmill, but what makes them special is that the causes are invisible.
You see the effect and know the cause, but since the death is instantaneous, it’s just this gruesome display that makes little sense to anyone not familiar with the whistle. The drunk driving death sees the victim get bent up and contorted while floating in the air, and it’s as nasty and memorable as it sounds. The saw mill death is more of a presentation as it sprays blood everywhere and leaves the victim in this crumpled, limbless ball.
Whistle‘s writing is standard and mediocre, typical of films about summoning death with percussion. However, horror fans will appreciate the creative deaths, solid acting, and an ending that leaves you wanting a sequel.
Whistle was released nationwide in theaters on February 6.
In the age of streaming, it’s common to hear people say that they’ll wait for a series to end before bothering to watch it. Every year, an incredible show has its run cut short, but there are also shows that linger too long past their expiration date.
Bones, Brooklyn 99, Modern Family, Westworld, all shows that went one or two seasons too far past the story’s natural conclusion, and none of them can match Showtime’s 2005 comedy-drama series, Weeds. What started as a fun show about a suburban mom selling pot rebooted itself every few episodes by constantly upping the stakes and treating the term “status quo” like a terminal disease.
Weeds Burned It All Down And Kept Going
Mary-Louise Parker as Nancy Botwin in Weeds
When Weeds begins, Nancy Botwin (Mary-Louise Parker) is dealing with the sudden death of her husband, Judah (in photos and, eventually, flashbacks, played by Jeffrey Dean Morgan), and struggling to care for her boys, Silas (Hunter Parrish) and Shane (Alexander Gould). The solution is to get into the marijuana business. Her brother-in-law, Andy (Justin Kirk), helps her fledgling business, while frenemy Celia (Elizabeth Perkins), the local overbearing PTA mom, constantly gets in the way. Local councilman Doug (Kevin Nealon) ends up being one of her best customers, and from there, the stage is set for a comedy about suburban consumerism. And it was, for three seasons.
By the time the third season ends, Nancy has become embroiled with the DEA and escalating levels of dangerous criminals before pissing off a group of bikers and turning to the Mexican Cartel for protection. The entire town of Agrestic burns to the ground (complete with the show’s opening sequence on fire), and Season 4 kicks off along the Mexican border. A romantic relationship with the head of the cartel takes a violent turn, so naturally, Season 6 has them on the run across the country, while Season 7 and 8 put the Botwins in New York to start over. Again.
Every time you think the show is going to settle down, wether it’s when Nancy early on sits around the table with the supporting cast and everyone agrees to start their own criminal enterprise, or seasons later, when they do the same scene again, or maybe when Silas starts up a front called “Headcheese” with Julia Bowen’s “Yoga Butt” character, you’re wrong. Each of the new status quo setups lasts for three episodes or less before it’s blown up again.
Advertisement
Mary-Louise Parker Defied Hollywood Expectations
Weeds was a huge hit for Showtime the moment it debuted, culminating in record-breaking viewership for the Season 3 finale. Part of the appeal was the setting, the comedy, and since it was on Showtime, the series didn’t hesitate to throw out nudity and sex scenes in almost every episode, turning the 41-year-old Mary-Louise Parker into a sex symbol. Even at its lowest point, in Season 5, the show kept its dark sense of humor, which worked with the gratuitous nudity to keep eyeballs on the show until it finally ended in 2012.
The show’s creator, Jenji Kohan, went from Weeds to Orange Is The New Black, another show that kept resetting the status quo on itself. Even if Kohan never works on another show in her career, she managed back-to-back successes that both overstayed by a few years but remain beloved years after they came to an end.
One of the best parts of Weeds is the opening song in Seasons 1-3, and again in Season 8, “Little Boxes” by Malvina Reynolds. Starting in Season 2, the show used cover versions from artists including Elvis Costello, Randy Newman, Billy Bob Thornton, Linkin Park, the Mountain Goats, and Death Cab for Cutie. The satirical song captured the first few seasons perfectly, which is why it’s removed when the show goes way off the rails and returns when the show finally settles down again.
Over a decade after the end of its run, Weeds might be one of the best shows to binge-watch. The off-kilter narrative 180’s keep it exciting the whole way through, but if you end up bailing after the Season 4 finale’s twist, that’s alright, as you’ve already seen the show at its best.
1981 was a year of transition. The bold experimentation of 1970s filmmaking was colliding with the emerging blockbuster logic of the 1980s. The result was a diverse slate of films: muscular and thoughtful, mythic and grounded, commercial and deeply personal.
With this in mind, this list looks at some of the most enduring classics of 1981. They helped define what action, horror, romance, historical drama, and political cinema could look like in a changing industry. The best of them more than hold up today.
Advertisement
10
‘Excalibur’ (1981)
Image via Warner Bros.
“You will be the land, and the land will be you.” Excalibur retells the legend of King Arthur as a dark, operatic myth rather than a chivalric fairy tale. It charts Arthur’s (Nigel Terry) rise from illegitimate child to king, the forging of the Round Table, and the eventual collapse of his kingdom through betrayal, ambition, and moral decay. Knights quest for the Holy Grail, loyalties fracture, and magic slowly drains from the world. As Arthur weakens, so does the land itself.
The film was directed by John Boorman, the mind behind Point Blank and Deliverance, explaining its grimmer, grittier edge. Still, the fantasy aesthetic remains striking and immersive. Watching Excalibur now, the stylized performances, gleaming armor, and ritualistic tone feel intentionally heightened rather than dated. The supporting cast is strong, too, including Patrick Stewart, Liam Neeson, and a bewitching Helen Mirren as Morgan le Fay.
Advertisement
9
‘Body Heat’ (1981)
William Hurt and Kathleen Turner sit and talk in Body Heat. Image via Warner Bros.
“You’re not too smart, are you? I like that in a man.” Body Heat follows a small-town lawyer (William Hurt) who becomes entangled in a dangerous affair with a married woman (Kathleen Turner) intent on escaping her wealthy, controlling husband (Richard Crenna). What begins as pure lust quickly evolves into manipulation, deception, and even murder, with the lawyer gradually realizing he may not be the one in control.
The plot is tightly wound, drawing heavily from classic film noir while updating its sexual frankness and moral cynicism. Every decision compounds the last, turning desire into a trap that tightens without warning. In particular, the movie’s understanding of power dynamics, whether sexual, economic, or psychological, gives it lasting bite. In other words, while it has the trappings of an erotic thriller, Body Heat is really a sharp neo-noir. Much of its success hinges on the phenomenal femme fatale performance from Turner.
Advertisement
8
‘Thief’ (1981)
James Caan’s Frank from Thief (1981)Image via United Artists
“There’s a thousand ways to get hurt in this business.” Thief was Michael Mann‘s debut, and it contains many of his stylistic calling cards in microcosm. At the center of it is Frank (James Caan), a professional safecracker determined to complete one last big job so he can finally build a normal life. When he agrees to work for a powerful crime boss, his carefully controlled world begins to unravel as independence gives way to obligation. Every step toward legitimacy pulls him deeper into the criminal underworld. Frank’s tragedy isn’t moral failure, but believing he can negotiate with systems that only consume.
All this makes for an unusually smart thriller, one of the best crime films of the early ’80s. While Mann’s later work would get much more ambitious and elaborate, Thief remains punchy even now. Its cool visual style and electronic score have aged well, and its de-romanticized take on crime feels much more honest than you usually find in this genre.
Advertisement
7
‘Reds’ (1981)
Image via Paramount Pictures
“I want to make a difference.” Reds dramatizes the life of American journalist John Reed (Warren Beatty, who also directs), whose radical politics and romantic idealism draw him into the Russian Revolution. The film traces his relationship with fellow writer Louise Bryant (Diane Keaton), their political commitments, and the strain ideology places on their connection. The movie is simultaneously epic and intimate, moving between personal romance and historical upheaval.
To accommodate this ambitious storytelling scope, the movie clocks in at well over three hours long, something that not every viewer will appreciate. Others have taken issue with the way it presents the protagonists’ politics. Still, for those interested in this period, there’s a lot to be enjoyed here. Weatty and Keaton’s acting is great, as one would expect, and the film does make some nuanced points about both potential and the perils of trying to bring about revolution.
Advertisement
6
‘An American Werewolf in London’ (1981)
Image via Universal Pictures
“Beware the moon.” This seminal comedy-horror follows two American tourists (played by David Naughton and Griffin Dunne) attacked by a mysterious creature on the English moors. One is killed, the other survives, only to discover he is slowly transforming into a werewolf. As his body changes, he’s haunted by visions of his dead friend, who warns him of what he’s becoming. While that sounds like typical horror fare, the story is shot through humor as well, as well as more than a little of that classic John Landis absurdity.
The special effects alone ensure An American Werewolf in London‘s place in genre history. The transformation scenes were groundbreaking for the time: painful and intimate, emphasizing bodily violation rather than spectacle. All in all, this movie is funny, frightening, and unexpectedly sad, a genre hybrid that has never really been replicated. It paved the way for many great comedy-horrors that followed.
Advertisement
5
‘Blow Out’ (1981)
Nancy Allen in a climatic scene from Brian De Palma’s 1981 thriller ‘Blow Out.’Image via Filmways Pictures
“You can hear the screams.” Blow Out is Brian De Palma‘s pulpier, harder-hitting take on Michelangelo Antonioni‘s Blow-Up, but switches that movie’s focus on photography to a focus on audio recording. John Travolta is great in it as Jack Terry, a sound technician who accidentally records evidence of what may be a political assassination while gathering audio for a low-budget horror film. He begins piecing together the truth using sound, images, and film fragments, but soon becomes entangled in a conspiracy far larger than himself.
While the movie is structured like a paranoid thriller, its real subject is perception itself. Jack believes that if he can assemble the evidence correctly, reality will assert itself. Instead, every step toward clarity reveals how easily truth can be distorted, erased, or repackaged. His technical expertise becomes both his power and his curse. In this sense, Blow Out very much channels the spirit of Alfred Hitchcock.
Advertisement
4
‘Raiders of the Lost Ark’ (1981)
Indiana Jones thinking about seizing a gold statue in the opening of Raiders of the Lost Ark (1981)Image via Paramount Pictures
“It’s not the years, honey. It’s the mileage.” One of the most purely entertaining movies of all time, Raiders of the Lost Ark introduces the legendary Indiana Jones (Harrison Ford), an archaeologist-adventurer racing against Nazi forces to locate the Ark of the Covenant, a biblical artifact said to wield immense power. The plot moves briskly across continents, blending chases, puzzles, and narrow escapes into a relentless pursuit, all harking back to the classic adventures of Hollywood’s Golden Age. Every obstacle escalates the stakes, and every action sequence advances the character development.
All these decades later, the movie’s clarity of storytelling, sense of wonder, and tonal confidence remain unmatched. Raiders is joyful and fun, simply jam-packed with plot in the best way. Plus, in contrast to most adventure blockbusters of the era, the protagonist is not invincible. Indy survives through improvisation, endurance, and occasional luck. That vulnerability grounds the spectacle.
Advertisement
3
‘Escape from New York’ (1981)
Kurt Russell as Snake Plissken in Escape From New YorkImage via AVCO Embassy Pictures
“Call me Snake.” Escape from New York is set in a near-future where Manhattan has been converted into a maximum-security prison. When the President (Donald Pleasence) crash-lands inside the city, the government recruits Snake Plissken (Kurt Russell), a disgraced former soldier, to rescue him within a strict time limit. The story that follows is spare and cynical. Snake navigates rival gangs, collapsed infrastructure, and shifting alliances, not out of loyalty, but obligation. In this world, authority is corrupt, survival is transactional, and heroism is deeply suspect.
John Carpenter wrote it as a direct response to the Watergate scandal and the pessimistic public mood it engendered. On release, some critics dismissed all this as genre pulp. However, as is often the case with Carpenter movies, Escape from New York went on to become a cult classic. It’s grimy, action-packed, and full of attitude. Snake’s refusal to play along becomes the film’s quiet act of resistance.
Advertisement
2
‘Das Boot’ (1981)
Image via Neue Constantin Film
“It’s cold. It’s dark. And it’s very quiet.” Das Boot follows the crew of a German U-boat during World War II as they patrol the Atlantic under constant threat from Allied forces. Hours stretch into days stretch into weeks as tension mounts and morale deteriorates. The film confines the audience within the submarine’s cramped interior, creating a claustrophobic experience that mirrors the crew’s psychological state. Attacks are sudden, survival is uncertain, and victory offers no relief, only temporary reprieve.
This refusal to glorify combat allows fear and exhaustion to dominate. The result is one of the most immersive war films ever made. The tension is tautly controlled throughout, the plot elements are all bolted into their right place, and the realism of the submarine is genuinely impressive. Every movie since that takes place owes Das Boot a debt of gratitude, and probably falls short of the high bar it set.
Advertisement
1
‘Chariots of Fire’ (1981)
Image via 20th Century Studios
“I believe God made me for a purpose.” That year’s Best Picture Oscar was won by this inspirational drama. Chariots of Fire follows two British athletes preparing for the 1924 Olympics: one (Ian Charleson) driven by religious conviction, the other (Ben Cross) by a desire to overcome class prejudice. For them, running becomes an expression of belief, whether spiritual or personal. Their parallel journeys become vehicles to explore faith, discipline, and the cost of ambition. Breaking with genre convention, the emphasis here is on training, doubt, and moral conflict rather than competition itself.
Basically, this is a well-crafted prestige sports drama, anchored by strong performances. The visuals are granded and the score is great. It all builds up that famous slow-mo sequence to the sounds of Vangelis, a sence that has been endlessly referenced and parodied in the decades since. The movie’s admirers include Christopher Nolan, who called it “a masterpiece of British understatement.”
After what seemed like a major return to form in the last five years, Jason Statham‘s hot streak has been hit with its second setback. His new movie, Shelter, has been struggling at the box office despite having earned mostly positive reviews. This is difficult to explain, but it reflects the unpredictable nature of the movie business these days. While similar original genre movies starring Statham have done well in the recent past, Shelter was outright rejected by audiences. The movie still hasn’t recovered its reported $50 million budget theatrically, and seems poised to fall short of even Operation Fortune: Ruse de Guerre, the star’s lowest-grossing film of the decade. During this decade, Statham has headlined both franchise films and original action vehicles — reviews have hardly come between him and box office success. It turns out that reviews don’t mean much when one of his movies underperforms, either.
Shelter isn’t just a setback for Statham, but is also the second underperformer in the span of a month for director Ric Roman Waugh. The filmmaker only recently saw the commercial failure of Greenland 2: The Migration, the Gerard Butler-led sci-fi sequel that grossed only around $20 million worldwide against a reported $90 million budget. Greenland 2‘s underperformance may partially be explained, since it will be released on digital in most markets outside North America. Shelter, however, was given a proper theatrical release. It’s now sitting at a 62% critics’ score and an 87% audience score on the review aggregator website Rotten Tomatoes, where the consensus reads, “Classing up an overdone premise with professional execution, Shelter is highly derivative of previous Jason Statham action vehicles but lean and mean enough to forgive the recycled tropes.”
Advertisement
Here’s How Much ‘Shelter’ Has Grossed So Far
The movie’s positive audience score sets it up for a solid performance on digital, but its box office run so far has to sting. The movie has grossed less than $10 million domestically — one-fifth of its reported budget — and only around $25 million worldwide. By comparison, Statham’s last two films — The Beekeeper and A Working Man — made around $160 million and $100 million worldwide, respectively. In the last half-decade, he has also delivered the hit film Wrath of Man, which made more than $100 million worldwide, and the action sequel Meg 2: The Trench, which grossed nearly $400 million globally.
You can watch Shelter in theaters. Stay tuned to Collider for more updates.
Advertisement
Advertisement
Release Date
January 30, 2026
Runtime
107 minutes
Advertisement
Director
Ric Roman Waugh
Advertisement
Writers
Ward Parry
Producers
Advertisement
Greg Silverman, Jason Statham, Jon Berg, John Friedberg, Brendon Boyea
James Cameron on the set of Avatar with Zoe Saldaña next to himImage via Disney
After playing in theaters worldwide for more than 50 days, James Cameron‘s Avatar: Fire and Ashdropped out of the domestic top five this past weekend. The epic threequel hasn’t been as successful as its record-breaking predecessors, but it’s still among the highest-grossing films ever made. Avatar: Fire and Ash will probably pass its final domestic box office milestone ($400 million) in the coming days, but it seems poised to fall short of the $1.5 billion mark worldwide. It continues to trail the original Avatar, the highest-grossing film in global box office history, by around $1.5 billion. It’s also trailing Avatar: The Way of Water, the third-biggest hit ever, by approximately $1 billion. While Disney and Cameron ponder over the franchise’s future, Avatar: Fire and Ash can celebrate its latest achievement.
In its eighth weekend of release at the domestic box office, the movie grossed around $3.5 million and finished seventh on the chart. Avatar: Fire and Ash found itself being outperformed by fellow Disney release Zootopia 2, which has been playing in theaters for a longer period of time, but is simply refusing to die down. Zootopia 2 has made more than $400 million domestically and more than $1.7 billion worldwide — it’s the highest-grossing Hollywood film of 2025, and number two on the overall charts behind only China’s Ne Zha 2. However, while Zootopia 2 managed to score a Best Animated Feature nod at the Oscars, Avatar: Fire and Ash earned lukewarm reviews and was largely shut out. The threequel became the first installment of the blockbuster Avatar franchise to not receive a Best Picture nomination, and will likely become the series’ first entry to fall short of the $2 billion mark worldwide.
Advertisement
Here’s the Space Opera That ‘Avatar: Fire and Ash’ Has Overtaken
With a running domestic haul of over $390 million, Avatar: Fire and Ashovertook fellow space opera Guardians of the Galaxy Vol. 2 this weekend. Directed by James Gunn, Guardians of the Galaxy 2 made around $389 million in its domestic run and around $870 million worldwide. It earned excellent reviews and is now sitting at a “Certified Fresh” 85% score on the aggregator website Rotten Tomatoes, whose consensus described it as “dazzling.” The trilogy ended with Guardians of the Galaxy Vol. 3, which earned positive reviews as well and grossed nearly $850 million worldwide. However, Avatar: Fire and Ash cost roughly twice as much as any Guardians of the Galaxy movie, and its underperformance has raised questions about the franchise’s future.
You can watch the film in theaters. Stay tuned to Collider for more updates.
Advertisement
Advertisement
Release Date
December 19, 2025
Runtime
Advertisement
197 Minutes
Director
James Cameron
Advertisement
Writers
Amanda Silver, Rick Jaffa, James Cameron, Josh Friedman, Shane Salerno
Stassie Karanikolaou vs. Kylie Jenner Who’d You Rather?! Workout Besties Edition!
Published
Advertisement
Jump-start your week with a sexy game of Who’d You Rather?! Famous besties Stassie Karanikolaouand Kylie Jenner both rocked their ALO workout sets, but which hot babe is grabbin’ your vote … Stassie in gray, or Kylie in black?!
Imagine this: After months of finally coming to the conclusion that you want a divorce, you lay it out for your spouse, and then the next morning, Russia invades Ukraine. Okay, sure, perhaps if you don’t live in Eastern Europe, the invasion might not really affect you as much as the reality that you now need to retain a divorce attorney. But for Vytas (Marius Repšys) and Marija (Žygimantė Elena Jakštaitė), in Lithuania, the war presents a new complication during this unpredictable time for them and their daughter, Dovilė (Amelija Adomaitytė). Director and screenwriter Andrius Blaževičius puts a microscope on the complex family dynamic that inevitably appears after a divorce and sets it during the timely invasion of Ukraine to put the realities of war and social justice into sharp focus.
What Is ‘How To Divorce During the War’ About?
In 2022, Marija and Vytas wake up in separate beds to the news that Russia is launching a full-scale invasion of Ukraine. This is just a day after Marija told Vytas that she wants a divorce, not telling him that she’s been quietly having an affair with her co-worker, Jūratė (Indrė Patkauskaitė), for months. While Vytas feels completely blindsided by this, his more immediate problem is now that he must find a place to live. Marija is the sole breadwinner of the family, working for a video production company that makes social media video slop. Vytas, a once-successful filmmaker currently out of work, both looks down on Marija’s day job and actively benefits from her salary. In exchange, he is the primary homemaker, taking care of their daughter Dovilė, making dinner, and cleaning the house meticulously.
The separation completely throws both Marija and Vytas’ lives into disarray. The couple is pro-Ukraine and makes every effort to show it. Vytas is forced to move home to his Russian-sympathetic parents, but every other day, he’s throwing rocks into the windows of Russian cars. He begins volunteering at a food bank and participates in artistic protests in the city, using his modicum of fame to amplify their message. Meanwhile, Marija brings in a Ukrainian family of refugees to live with her and Dovilė shortly after the war begins. She actively opposes her company’s continued partnership with Russia at the risk of her own career, and ties up the Ukrainian flag on her balcony with her daughter in a firm show of support.
Advertisement
However, as the war wages on, Vytas’ actions feel more and more performative, and Marija becomes annoyed with the extended stay of the refugees in her home, with whom she can barely communicate. In the background, Dovilė experiences troubles at school as children echo the varying sentiments of their parents. How To Divorce During the War carefully and deliberately illustrates the very real and complicated feelings that come with the Russian invasion, and rather than wag a finger at anyone, the film forces you to look at the nuances of the war, warts and all.
‘How To Divorce During the War’ Depicts Performative Activism’s Upsides and Downsides
Living in the Lithuanian capital of Vilnius, both Marija and Vytas are no stranger to working with their European neighbors, and many Lithuanians have some kind of tie to the two warring countries. Although Marija and Vytas outwardly express their support for Ukraine, this support wanes in ferocity as time stretches on. It’s not that they are just posting black squares on social media or tweeting into a void — they aren’t slacktivists — but their performative actions and the desire to be on the right side of history feel, in many ways, self-serving.
The upper-middle-class privilege comes on full display after the split. Marija is happy for a Ukrainian mother and her two sons to come and live with her, in a very bold show of how eager she is to help. But she jams all three of them into Vytas’ former office, and it’s not long before she’s complaining about how dirty they are and struggling to communicate with them. When she defiantly quits her job due to the fact that her company won’t break ties with Russia, she doesn’t consider that she still has to provide for her daughter and also the new family living with her. It’s a perfect example of that privilege that Marija is so confident in quitting based on her morals, when the reality is that most people work for morally-dubious companies and remain there for the simple reason that they need a paycheck.
Mstyslav Cherno takes us into the darkest depths of the war in Ukraine.
With Vytas, his return home means that he’s plagued with his parents essentially watching the Russian version of Fox News, a channel spouting propaganda that he desperately tries to push his parents not to believe. Whenever he sees a Russian license plate, he doesn’t even hesitate to throw a rock through the car window as a violent form of protest. Of course, the Russian government is to blame for the invasion, but should these citizens pay the price of something they have little to no control over? Vytas thinks so. Rather than seeking employment, he volunteers (occasionally helping himself to the food that is meant to go to refugees thanks to his dwindling funds) and participates in artistic protests to a crowd of dozens where he lies on the ground covered in fake blood.
Advertisement
Protesting, volunteering, and housing refugees all benefit the Ukrainian effort, which, for Marija and Vytas, might excuse the fact that their motives behind their actions are largely an effort to self-soothe. Being fully aware that Russia is in the wrong means that they are also conscious that they might not be doing enough. Add to the fact that Russia is less than a five-hour drive away, and the growing fear of what Putin might do next, and both characters are pushed to their extremes.
Andrius Blaževičius Gets the Details Right in ‘How To Divorce During the War’
Žygimantė Elena Jakštaitė, Marius Repšys, and Amelija Adomaitytė in How To Divorce During the WarImage via M-Films
Blaževičius carefully toes the line between the politics and the domestic drama of How To Divorce. While it might be easy for us to shame Marija for how she treats her new house guests and chastize Vytas for his vandalism, it’s also hard to paint them as pure villains. Galvanized by good intentions, Blaževičius makes a very pointed commentary on the burden of living in this world where we are constantly exposed to the horrors of war and disaster. Feeling helpless and hopeless, it’s not hard to see why the protagonists of the story want to do everything they can, even if it’s not sustainable for them.
Advertisement
Both Repšys and Jakštaitė deserve praise for their performances. After the separation, Repšys plays the awkwardness of Vytas perfectly. From awkwardly asking a Ukrainian sex worker about her family after doing the deed to being covered in red corn syrup while waxing on about the purpose of their protest, Repšys can make us both sympathize with Vytas while also cringing at him. Jakštaitė has the difficult task of making us empathize with Marija. As the cheating spouse and the homeowner stressing out her refugees, it’s not easy to like her. But Jakštaitė is able to show Marija’s frustration and depression without saying a word, humanizing her in just a few quiet moments that remind us that Marija is not the one we should shift all our blame onto.
Blaževičius follows the timeline of events, carefully documenting with an inobtrusive eye as feelings change, politics shift, and a desire for equilibrium trumps the passion for social justice. Lithuanian cinematographer Narvydas Naujalis is able to speak volumes in his shots of the quiet daily life of a country that is on edge. Simple things like the setting of the film depict the evolution of the characters; what starts as a clean and bright apartment where Marija and Vytas live with their daughter slowly dims and becomes cluttered as the film progresses. Layered with symbolism and unafraid to show the spectrum of reactions to a tumultuous time, How To Divorce During the War is a thoughtful drama that highlights the global impact of a war on the smallest scale.
How to Divorce During the War debuted at the 2026 Sundance Film Festival.
Advertisement
Advertisement
Release Date
January 26, 2026
Runtime
Advertisement
108 minutes
Director
Andrius Blaževičius
Advertisement
Writers
Andrius Blaževičius
Advertisement
Producers
Marija Razgutė
Advertisement
Cast
Žygimantė Elena Jakštaitė
Advertisement
Marija
Advertisement
Advertisement
Pros & Cons
Strong performances from the leads, especially during the characters’ most unlikeable moments.
Bla?evi?ius presents a complex issue without losing the intimate look at the divorcing couple.
The film loses focus with the family dynamic and Dovil?’s character is kind of neglected.
Us Weekly has affiliate partnerships. We receive compensation when you click on a link and make a purchase. Learn more!
If you ask Us, midi skirts are always on trend. Recently, fashionistas are turning to the effortless style as an alternative to uncomfortable, stiff pieces. And Gwyneth Paltrow proved just how fabulous midi skirts are. Thus, we found a budget-friendly alternative to get her recent look.
For the Los Angeles Times‘ Envelope Oscar Actresses Roundtable, the Marty Supreme actress paired together a cropped, ivory bralette with a matching midi skirt. The posh ensemble is one we’d love to recreate for romantic dates, after-work drinks and events in between. This Sebowel Satin Midi Skirt appears just as dreamy and elevated as Paltrow’s pick, and it only costs $15!
Advertisement
Get the Sebowel Satin Midi Skirt for $15 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
Similar to Paltrow’s pick, this midi skirt is made from a luxe-looking fabrics that resembles high-end satin. The high-waist design, stretchy elastic waistband and delicate ruffles help this flattering number slim curves without the digging discomfort. Another impressive detail? This skirt features delicate ties on the side for a whimsical touch. Whether you wear it out or tied in a bow is up to you.
Matching Paltrow’s clean, rich mom shade is a breeze. The skirt’s beige color is a perfect match. However, it comes in seven other shades, ranging from vibrant picks like rose to deeper hues like brown.
Fans rave about the midi’s high-end appeal. “I absolutely love this skirt. It looks and feels expensive,” one reviewer shared. “The color is as shown. I am going to purchase another color. I was truly satisfied with the fit and the match to my attire.”
Advertisement
The budget-friendly price tag was a huge selling point for reviewers. One shopper shared, “Most silk skirts are much more expensive, so I was pleased with the value for your money. Very comfortable and fits great.”
Want to look polished in a hurry? This expensive-looking midi skirt mirrors Paltrow’s effortless style for just $15! With spring approaching, it’s a versatile piece you won’t regret adding to your collection.
Get the Sebowel Satin Midi Skirt for $15 at Amazon! Please note, prices are accurate as of the publishing date but are subject to change.
Looking for something else? Explore more skirts here and don’t forget to check out all of Amazon’s Daily Deals for more great finds.
If you’ve been side-eyeing your jeans lately, you’re not alone. Satin-like maxi skirts are the chic alternative we keep reaching for instead, and for good reason. They instantly elevate even the simplest outfits, adding movement and striking the perfect balance between relaxed and put-together style. Plus, these skirts play incredibly well with closet staples you […]
Ian Fleming may have originated the genre, butJohn le Carré (real name David Cornwell) brought spy novels to new levels of realism, complexity, and relevance. He ditched the gadgets and derring-do, instead embracing blurred loyalties, inner turmoil, and disillusionment. In le Carré’s world, intelligence work is not a chess match between geniuses but a slow grind of paperwork, betrayal, ideological decay, and emotional damage.
In other words, le Carré’s novels dismantle the spy myth piece by piece, launching a new wave of titles that would come to define the genre for a world living through the Cold War and increasingly disenchanted with institutions. With this in mind, this list ranks the very best of them. The novels below represent his most powerful work, defined by rich commentary, careful plotting, and psychological depth.
Advertisement
10
‘A Murder of Quality’ (1962)
Image via Penguin Classics
“Love is whatever you can still betray.” A Murder of Quality is le Carré’s second novel and one of his most deceptively quiet works. On the surface, it seems like a traditional English murder mystery, following George Smiley as he investigates a killing at an elite boys’ school. However,rather than serving up the espionage spectacle one might expect, the book places its focus on themes like class, cruelty, and institutional rot.
Le Carré uses the school as a microcosm of British society, exposing how privilege protects abuse and silences dissent. The murder itself becomes less important than the environment that enabled it. Here, Smiley isn’t a flashy spy or death-defying secret agent, but a moral observer, someone attuned to human weakness and social hypocrisy. A Murder of Quality fits all this into a breezy 189 pages, making it a fairly accessible starting point for those curious about le Carré’s work.
Advertisement
9
‘The Russia House’ (1989)
Image via Penguin Classics
“The world is a fine place, and worth fighting for.” The Russia House is one of le Carré’s most humane novels, set during the thawing tensions of the late Cold War. The main character is “Barley” Blair, a British publisher drawn into intelligence work after receiving a manuscript from a Soviet scientist claiming to reveal the truth about Russia’s failing nuclear capabilities. The plot mechanics are fairly straightforward, but the book is elevated by a touching romantic storyline between Barley and a Russian woman.
Le Carré fans often cite this as the author’s funniest and most grounded book. The movie adaptation starring Sean Connery and Michelle Pfeiffer was well-received, too, for similar reasons. The Russia House is also interesting as a time capsule. It was published in 1989, capturing a moment of major historical transition, where old certainties were collapsing without being replaced by anything better.
Advertisement
8
‘The Night Manager’ (1993)
Image via Penguin Classics
“There is no such thing as a private life.” The Night Manager was le Carré’s first true post-Cold War novel, exploring a much murkier world where loyalties and objectives were trickier to define. The novel follows a former soldier turned hotel night manager who is recruited to infiltrate the inner circle of an international arms dealer. On paper, this resembles a more conventional thriller, but le Carré subverts expectations at every turn. The arms dealer is not merely evil, but protected by governments, corporations, and intelligence agencies that benefit from his crimes.
In other words, corruption is the central theme in this one, with characters driven by self-interest rather than high-minded ideals or national power. As a result, the vibe is bleaker and more ambiguous than that of the novels that directly preceded it. There is suspense, but little satisfaction. Success feels temporary and compromised, failure systemic. A snapshot of unipolar malaise.
Advertisement
7
‘Smiley’s People’ (1979)
Image via Penguin Classics
“Smiley never forgot.” Smiley’s People serves as the elegiac conclusion to George Smiley’s long conflict with his Soviet counterpart, Karla. It’s a tragedy about two men shaped (and ruined) by ideology. We follow Smiley as he reassembles old networks and forgotten contacts for one final reckoning. Unlike more action-driven spy novels, this book moves slowly, deliberately, mirroring Smiley’s age and weariness. The Cold War is no longer a battlefield or a stage for heroism, but a graveyard of broken lives.
The book is fittingly claustrophobic and intense, a fitting payoff to the “Karla Trilogy”. As a capstone for that story arc,Smiley’s People defines le Carré’s worldview: intelligence work destroys both sides, and understanding your enemy does not make their defeat feel like justice. The title refers to those who choose reality over ideology and humans over institutions. The novel’s quiet final scenes are especially devastating.
Advertisement
6
‘The Honourable Schoolboy’ (1977)
Image via Penguin Classics
“We are not nice people.” Coming just before Smiley’s People in the Karla Trilogy, The Honourable Schoolboy is le Carré at his most sprawling and structurally ambitious. Picking up threads from Tinker Tailor Soldier Spy, this one chronicles British intelligence’s attempt to exploit Karla’s networks in Southeast Asia. The plot moves across continents, mixing espionage with journalism, politics, and, of course, personal obsession. The cast of characters is massive, with multiple narrative plates spinning at once.
The Honourable Schoolboy clocks in at a sturdy 533 pages, all of them crammed with events and details. Le Carré deliberately overwhelms the reader, reflecting the chaos and moral confusion of post-imperial intelligence work. It’s a picture of spycraft under pressure, where improvisation and sheer survival are the name of the game. The characters are fittingly layered and three-dimensional. The central figure, for example, a journalist-turned-agent, embodies divided loyalty and self-delusion.
Advertisement
5
‘The Little Drummer Girl’ (1983)
Image via Penguin Classics
“She was acting even when she slept.” The Little Drummer Girl is le Carré’s most theatrical novel, both literally and metaphorically. It revolves around a young actress recruited by Israeli intelligence to infiltrate a Palestinian terrorist network. She is manipulated by a spymaster on a mission to find and kill a terrorist, but, while undercover, finds herself developing unexpected sympathies for the causes of those she is meant to be taking down. The protagonist’s empathy becomes both a liability and a weapon.
Le Carré refuses easy moral binaries, portraying both sides as capable of cruelty and conviction. The intelligence apparatus itself is shown as ruthlessly pragmatic, willing to sacrifice individuals for strategic gain. At the same time, Le Carré uses performance as a central metaphor, examining how identity is constructed, manipulated, and eventually erased. The lies are destabilizing, to the point that one either comes to believe them or collapses totally under their crushing weight.
Advertisement
4
‘The Constant Gardener’ (2001)
Image via Penguin Classics
“Love is the only reason to lie.” Some readers will know The Constant Gardener from the 2005 movie version starring Ralph Fiennes and an Oscar-winning Rachel Weisz. Drawing on a real-life incident, it tells the story of a British diplomat investigating his activist wife’s murder in Kenya, uncovering a web of pharmaceutical exploitation and government complicity. Unlike the author’s Cold War novels,this book is driven by grief and love rather than professional duty.
The protagonist’s awakening is painful and belated, driven by guilt as much as justice. The tale is smart as well as suspenseful, shot through with passion, conspiracies, double crosses, deadly diseases, and conniving bureaucrats. However, Le Carré himself says that his fictionalized account is less shocking than the actual case that inspired it. In the afterword, he writes: “By comparison with the reality, my story [is] as tame as a holiday postcard.”
Advertisement
3
‘The Spy Who Came in from the Cold’ (1963)
Image via Penguin
“What do you think spies are? Priests?” The Spy Who Came in from the Cold is the novel that changed espionage fiction forever. In it, a British agent is sent on one last mission designed to appear as a defection, drawing him into a morally grotesque operation. What makes the novel revolutionary is its bleakness. Le Carré strips away any notion of honorable service, portraying intelligence work as indistinguishable from the brutality it claims to oppose.
The protagonist is exhausted, cynical, and ultimately disposable. While his superiors cloak his mission in ideals and altruism, all justified by the greater good, the reality is that his morally dubious work is corrosive to his soul. Here, the spy agencies of both East and West live in a moral void, each using the Cold War as an excuse to justify lies, violence, and betrayal. This approach was bold stuff for the early ’60s, carrying over well into the stellar film adaptation, too.
Advertisement
2
‘A Perfect Spy’ (1986)
Image via Penguin Classics
“He was born a liar, and he never stopped.” A Perfect Spy is le Carré’s most personal and psychologically complex novel. Loosely inspired by his life, it centers on a lifelong intelligence operative whose career is shaped by his relationship with his charismatic, deceitful father. The plot moves between espionage missions and childhood memories. Long before deception became the protagonist’s profession, it was a survival skill in a turbulent household.
In other words, Le Carré dismantles the spy myth entirely here, presenting espionage as an extension of emotional damage rather than patriotic duty. The protagonist’s identity fractures under the weight of lies told for love and career alike. His story is dense, introspective, and deeply sad, offering no redemption, only understanding. Not for nothing, author Philip RothdeclaredA Perfect Spy “the best English novel since the war”, and le Carré himself said it was “the novel of mine that is closest to my heart.”
Advertisement
1
‘Tinker Tailor Soldier Spy’ (1974)
Image via Penguin
“A fanatic is always concealing a secret doubt.” Far and away the author’s most famous book, not least due to the fantastic 2011 movie adaptation. Tinker Tailor Soldier Spy is le Carré’s most intricate and intellectually demanding novel. It revolves around George Smiley’s investigation into a Soviet mole embedded at the highest levels of British intelligence, leading to a tense hunt through memory, interrogation, and Smiley’s quiet deduction. At the time, these ideas weren’t fantasy at all but a reflection of real events, specifically the defection to the Soviet Union by British spy Kim Philby.
The structure mirrors the process of intelligence analysis itself: fragmented, slow, and deeply uncertain. Every character is compromised, emotionally or morally. For this reason, the novel rewards patience, gradually revealing how betrayal corrodes institutions from within. Themes aside, Tinker Tailor Soldier Spy is simply well written, laden with sharp dialogue and juicy plot twists, and the character of Smiley is compelling throughout.
Vonn, 41, responded to British journalist Dan Walker on social media on Monday, February 9, after he wrote a lengthy post praising her courage for competing with a torn ACL.
In his post Walker wrote, “I think her attitude is the very essence of sport. It wasn’t just about chasing glory…it was about defiance.”
Advertisement
“This is what sport looks like when you strip away the polish. It’s not comfortable…it’s painful,” he continued. “Risk instead of safety. Vonn knew she might not win. She knew it might hurt. She understood the risk. She embraced it because not going down that mountain would mean surrendering to the things that stop you getting out of bed in the morning.”
Walker concluded his post, “I hope her body heals quickly and she knows she will always be a winner 🏆.”
US’ Lindsey Vonn is pictured before the second official training for the women’s downhill event at the Tofane Alpine Skiing Centre during Milano Cortina 2026 Winter Olympic Games in Cortina d’Ampezzo on February 6, 2026.Stefano RELLANDINI / AFP
Vonn crashed just 13 seconds into her women’s downhill run on Sunday, eventually being airlifted off the course by a helicopter to an Italian hospital.
She “underwent an orthopedic operation to stabilize a fracture reported in her left leg” and is being “treated by a multidisciplinary team,” according to a statement released by the Ca’ Foncello hospital on Sunday.
The U.S. Ski and Snowboard Team said Vonn was “in stable condition and in good hands with a team of American and Italian physicians.”
Advertisement
“She’ll be OK, but it’s going to be a bit of a process,” said Anouk Patty, chief of sport for U.S. Ski and Snowboard. “This sport’s brutal, and people need to remember when they’re watching [that] these athletes are throwing themselves down a mountain and going really, really fast.”
Vonn’s sister, Karin Kidlow, told NBC that the crash was “the last thing we wanted to see.”
“It happened quick and when that happens, you’re just immediately hoping she’s OK,” Kildow said. “She does have all of her surgeons and her PT staff here and her doctors, so I’m sure they’ll give us a report and we’ll meet her at whatever hospital she’s at.”
Unsurprisingly, Vonn’s name was left off Team USA’s roster for the first-ever women’s team combined event at the 2026 Winter Olympics, which takes place on Tuesday, February 10.
Advertisement
Thank You!
You have successfully subscribed.
Before hitting the slopes for the women’s downhill on Sunday, Vonn acknowledged she had a staggering task in front of her after completely tearing her ACL during a World Cup race last month.
“Just getting to these Olympics has been a journey, and one that some did not believe in from the start,” Vonn shared via Instagram on Saturday, February 5. “I retired for 6 years, and because of a partial knee replacement, I had the chance to compete one more time. But why? Everyone seems to be asking me that question. But I think the answer is simple…I just love ski racing.”
Advertisement
She added, “I will stand in the starting gate tomorrow and know I am strong. Know that I believe in myself. Know that the odds are stacked against me with my age, no ACL, and a titanium knee- but know that I still believe. And usually, when the odds are stacked against me the most, I pull the best of what’s inside me out.”
:max_bytes(150000):strip_icc():format(jpeg)/Savannah-Guthrie-Nancy-Guthrie-020226-27ea15f12b5b4beb9844949e491e5fdb.jpg)
