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I once knew a TV interviewer who got an interview with Mother Teresa and never stopped talking about it. We will call my friend N. After listening closely, I realized that N. thought she'd given Mother Teresa a big break: After all, not everybody gets to appear on TV with N.

"To Die For" is a movie about someone uncannily like N. I make that clear because some will consider it a satire, when it mirrors a personality type not unfamiliar to those who labor in the media.

Suzanne Stone ( Nicole Kidman ) is a woman who lives to be on TV.

Everything else in her life is either what happens before TV, or after TV. She lives in the small town of Little Hope, N. H., but in her mind, she lives in the hyperspace of supermarket tabloids, People magazine and instant celebrity.

Even in Little Hope, Suzanne is not a big fish. She is the weather forecaster for a local cable channel, although she is always dreaming up ways to expand her role and firmly intends to be the next Barbara Walters. Why she marries Larry ( Matt Dillon ) is anyone's guess: He's a nice enough guy from a family who owns the local Italian eatery, but for a star of the future like Suzanne, he's too commonplace. At least when she meets him he has a certain animal appeal, but soon after their marriage, he starts sacking out on the couch and developing love handles.

Suzanne is played by Kidman as a woman who is always onstage, and seems to be reading her dialogue from a TelePrompTer that scrolls up the insides of her eyeballs. The dialogue has been written by Buck Henry , who has probably met more than a few performers just like this, and it is priceless. She doesn't want to be pregnant, she tells her mother-in-law, because "a woman in my field with a baby has two strikes against her. She can't cover a royal wedding, or a revolution in South America, and pregnancy gives her blubber, and boobs out to here. It's gross." (I'm surprised Suzanne hasn't picked up on the cachet for pregnancy on TV.) It becomes clear to Suzanne that her husband must go. He's standing in the way of her future, an insight she has on her honeymoon while cheating on him with a TV executive who might be able to help her career. To aid in disposing of her husband, she enlists three airheads from the local high school: Jimmy ( Joaquin Phoenix ), Russell ( Casey Affleck ) and Lydia ( Alison Folland ).

They are dazzled and flattered to be taken seriously by this glamorous cable TV personality, and soon she's necking with Jimmy and persuading them to help her commit murder. (The way she lets them down afterward has a certain cheerful brutality.) All of this could be done broadly as farce, but director Gus Van Sant uses Henry's wicked screenplay as a blueprint for quieter, crueler comedy (the movie is a spectacular comeback after his appalling "Even Cowgirls Get the Blues"). "To Die For" is the kind of movie that's merciless with its characters, and Kidman is superb at making Suzanne into someone who is not only stupid, vain and egomaniacal (we've seen that before) but also vulnerably human. She represents, on a large scale, feelings we have all had in smaller and sneakier ways. She simply lacks skill in concealing them.

The film is filled with perfect character studies. Dillon, the former teen idol whose acting has always been underrated, here turns in a sly comic performance as a man dazzled by beauty but seduced by comfort. Illeana Douglas is Janice, Suzanne's ice-skating sister-in-law, who spots her as a phony and makes life uncomfortable by calling her on it. Dan Hedaya plays the father-in-law who rules his Italian family with an ebullient hand. And Buck Henry plays a high school teacher with a vast repertory of colorful verbal threats for his students.

Finally, though, the movie is about Suzanne, and Nicole Kidman's work here is inspired. Her clothes, her makeup, her hair, her speech, her manner, even the way she carries herself (as if aware of the eyes of millions) are all brought to a perfect pitch: Her Suzanne is so utterly absorbed in being herself that there is an eerie conviction, even in the comedy. She plays Suzanne as the kind of woman who pities us - because we aren't her, and you know what? We never will be.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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To Die For (1995)

Rated R For Strong Sexual Content, and For Language

100 minutes

Joaquin Phoenix as Jimmy Emmett

Matt Dillon as Larry Maretto

Nicole Kidman as Suzanne Stone

Casey Affleck as Russell Hines

Based On The Book by

• Joyce Maynard

Directed by

• Gus Van Sant

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Brilliant, satirical and dark; not for kids.

A Lot or a Little?

What you will—and won't—find in this movie.

Movie presents a world of characters with few goal

A man is murdered while begging for his life.

A young man is sexually initiated by an older fema

Very strong profanity, most of it uttered by teena

Some, generally muted and in the background. USA T

Pot smoking, several allusions to drinking and dru

Parents need to know that this film is suitable only for older teenagers. The movie plays on a number of sexual and ethnic stereotypes and situations that require either parental guidance or an extraordinary sophistication in recognizing social and movie satire. There are a number of violent and sexually explicit…

Positive Messages

Movie presents a world of characters with few goals and even fewer moral guideposts.

Violence & Scariness

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Sex, Romance & Nudity

A young man is sexually initiated by an older female authority figure. Sex is mentioned and shown without nudity.

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Very strong profanity, most of it uttered by teenagers.

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Products & Purchases

Some, generally muted and in the background. USA Today, Coca Cola, the rock band Whitesnake.

Drinking, Drugs & Smoking

Pot smoking, several allusions to drinking and drug use by teenage characters.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that this film is suitable only for older teenagers. The movie plays on a number of sexual and ethnic stereotypes and situations that require either parental guidance or an extraordinary sophistication in recognizing social and movie satire. There are a number of violent and sexually explicit scenes. An older woman seduces a teen with the intent of having him murder her husband. A man is killed while begging for his life. Teens verbally abuse each other. Drugs and alcohol are used without consequence. Parents should also know that although the film's treatment of sexual and violent situations is generally muted, a younger teenager is likely to miss the satiric thrust of the movie and remember the scenes of cruelty and psychological abuse. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

Based on a true story, TO DIE FOR is told in flashback with staged news reports, fake interviews, and more conventional thriller/film noir suspense set pieces. It takes place in the small town of Little Hope, New Hampshire. Suzanne Stone Maretto (Nicole Kidman) is a pretty, ambitious, but terminally untalented and unintelligent weather announcer. Her plans for national celebrity go awry when her handsome, provincial husband Larry declares his interest in settling down and starting a family. In response to this assertion, Suzanne convinces a naïve teenage dullard Jimmy Emmett (Joaquin Phoenix) and his equally vacant-eyed friends to murder him.

Is It Any Good?

This black comic thriller, shot in pseudocumentary style by Gus Van Sant, features Nicole Kidman's most accomplished performance to date. Buck Henry, who has lost none of his venom since The Graduate (1967), offers a brilliantly savage screenplay, Van Sant's direction is inspired, and Danny Elfman provides a riveting musical score. Not for kids, but definitely worth a rent for adults.

Talk to Your Kids About ...

Families can talk about the movie's treatment of fame and celebrity. What is it about our society that draws people like Suzanne to seek fame and celebrity? Parents may also want to discuss the film's student-teacher relationship. How does self-esteem play a role in Suzanne's manipulation of her accomplices? What would you do if a teacher acted in a similarly inappropriate manner?

Movie Details

• In theaters : September 27, 1995
• On DVD or streaming : October 27, 1998
• Cast : Joaquin Phoenix , Matt Dillon , Nicole Kidman
• Director : Gus Van Sant
• Inclusion Information : Gay directors, Female actors
• Studio : Columbia Tristar
• Genre : Drama
• Run time : 106 minutes
• MPAA rating : R
• MPAA explanation : strong sexual content, and for language
• Last updated : March 24, 2024

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To Die For (1995) Review

To Die For  (1995) Director:  Gus Van Sant Screenwriter:  Buck Henry Starring:  Nicole Kidman, Matt Dillon, Joaquin Phoenix, Casey Affleck, Illeana Douglas, Alison Folland, Wayne Knight

Suzanne Stone is a manipulative, cunning, career-driven woman. She’s also a murderer. On its 25 th anniversary, Gus Van Sant’s To Die For expresses clear and often uncomfortable connotations to grooming and abuse, and both cultural and societal roles imprinted on women pre-Millennium. Eager to get into television and quickly become a famous journalist, Suzanne Stone takes a job at a local TV station. Starting with a report on the kids of the local community, Suzanne befriends three teenagers and grooms them into killing her husband.

Gus Van Sant had already made a name for himself by the turn of the century, with directing credits for My Own Private Idaho (1991), Good Will Hunting (1997) and the shot-for-shot remake of Psycho (1998) sitting amongst his most memorable work, as well as book-to-film adaptations such as Mala Noche (1985) and Even Cowgirls Get the Blues (1993). To Die For is one of his strong list of 1990s releases, this film adapted from Joyce Maynard’s 1992 novel which, in turn, is based on the Pamela Smart murder case of 1990.

Nicole Kidman is striking as Suzanne Stone, with her charming yet wicked smile and intense monologues into the camera. She holds herself and her character with grace, slowly and expertly progressing the façade that Suzanne carries through the narrative. It’s easy to be distracted by the iconic looks that the costume department created; putting To Die For up there with Elle in Legally Blonde and Cher in Clueless for delivering another embodiment of the stylish and unforgettable blonde bombshell.

Suzanne is, of course, the ultimate threat to the male-controlled entertainment industry of pre-2000. At a dinner meeting with a sleazy TV exec, Suzanne is told that she must be willing to do anything to get further in her career, while being touched inappropriately. Once she understands his meaning, her continuous motive becomes clear: that’s not how she’s going to do things. Suzanne then becomes the manipulator, demanding a job at the local TV station and working incredibly hard on her journalism, taking chances instead of asking for them. Initially, it presents a particularly empowering tone, until her actions become very clearly misguided and her relentless greed becomes apparent.

Joaquin Phoenix ( Joker ) is only 20 in To Die For , but his talents are evidently boundless – it’s baffling to think that it’s only recently that he has become a household name. Taking on the role of James “Jimmy” Emmett, he quickly falls for Suzanne’s impressive looks and wholesome charm, starting a seemingly innocent relationship with her. Phoenix portrays Jimmy’s vulnerability effortlessly, his naivety blooming in such a childlike way that it makes Jimmy and Suzanne’s relationship all the more uncomfortable to witness. Suzanne grooms him and his friends, Lydia and Russell, to murder her husband, only to avoid them once the job is done and, further, verbally abuse them. Her manipulative and insulting tendencies are rather terrifying, yet Suzanne remains such a mesmerising character.

Ending somewhat comedically and certainly in a satisfying way that offers great closure, Van Sant’s direction and Elfman’s haunting soundtrack work in harmony to leave this disturbing narrative with something tangible and pure, quite the opposite of the fake and wishful world of television that Suzanne pursues.

On its 25th Anniversary, To Die For sits perfectly in the throngs of today’s culture; showing explicitly the drive and determination felt among women continuing to live in a man’s world. As a pair, Nicole Kidman and Joaquin Phoenix deservedly take the spotlight, but To Die For  is a genuinely engaging and at times challenging film constructed with the same mastery apparent in Van Sant’s other work; a film that remains as watchable as ever.

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FILM REVIEW

FILM REVIEW; She Trusts in TV's Redeeming Power

By Janet Maslin

• Sept. 27, 1995

When Suzanne Stone (Nicole Kidman) sees the paparazzi's flashbulbs, she feels a wave of exhilaration -- even at the funeral of her husband, and even though she happened to help put him in his grave. Details, details: nasty as they are, they can't shake Suzanne's faith in her own tirelessly cultivated celebrity. At last she has won the media attention she regards as life's sweetest reward.

Because Suzanne believes in the redeeming power of television, she has made herself its candy-colored creature, turning her job as a weather girl into the apotheosis of empty fame. Her whole life revolves around that idea of glamour. When she serves dinner, it's famous food ("This is the dish they serve in Johnny Carson's favorite restaurant in Hollywood") and she's star enough to avoid actual cooking. When she gets married, it's in a veil copied from Maria Shriver's. And even when she's in private, she remains a coyly decorative public person. "What's the point in doing something good if nobody's watching?" Suzanne wants to know.

There are times when we get exactly the satire we deserve, and this is one of them. "To Die For," an irresistible black comedy and a wicked delight, takes aim at tabloid ethics and hits a solid bull's-eye, with Ms. Kidman's teasingly beautiful Suzanne as the most alluring of media-mad monsters. The target is broad, but Gus Van Sant's film is too expertly sharp and funny for that to matter; instead, it shows off this director's slyness better than any of his work since "Drugstore Cowboy." Devilish wit sets "To Die For" worlds apart from the unwatchable fiasco that was his last effort, "Even Cowgirls Get the Blues."

Both Mr. Van Sant and Ms. Kidman have reinvented themselves miraculously for this occasion, which brings out the best in all concerned. Based on a novel by Joyce Maynard (which unofficially embellishes the case of Pamela Smart, the 23-year-old New Hampshire schoolteacher tried in 1991 for conspiring with four teen-age students to kill her husband), its story has been tightened deftly by Buck Henry's screenplay. Using Ms. Maynard's narrative idea of having many different characters comment on Suzanne's life, the movie becomes a quick, punchy string of sound bites, many of them sending up our tabloid culture's love of the ready cliche. Says Suzanne's husband, the hapless Larry Maretto: "I'm telling you, she's it. She's the golden girl of my dreams."

Ms. Kidman's smoothly hilarious performance and Barbie-doll perfection make it clear what he means. But not everyone who knows Larry shares his infatuation. Take his sister Janice, played with terrific, snappish zest by Illeana Douglas, who often appears on ice skates. When Suzanne sulks because Janice may land the Peggy Lipton role in a skating tribute to "The Mod Squad," it's clear that their rivalry is much too serious to go away.

To be fair, Janice and the Marettos are right to worry about Suzanne. She is seen bursting into their lives, snagging Larry, marrying him and then becoming too career-obsessed to care about being much of a wife. (She doesn't want children, she says, because it would be difficult to cover a royal wedding while pregnant.) Meanwhile, Mr. Dillon does a sneakily fine job of aging from young stud to bewildered couch potato ("He went from Van Halen to Jerry Vale overnight"). He's a man who can't understand why his wife doesn't share his interest in plastic plants.

What would have once been the Matt Dillon role in "To Die For" is actually played by Joaquin Phoenix, the sloe-eyed younger brother of River Phoenix, who is cast as this film's bewildered teen-age hunk. When Suzanne arrives to make a documentary in his high school classroom, looking sensational and sounding gloriously insincere about her interest in schoolboy thinking, Mr. Phoenix's Jimmy Emmett and his friends Lydia and Russell (Alison Folland and Casey Affleck) are agog. Beatrix Aruna Pasztor's show-stopping costumes (the most amusing movie clothes this side of "Clueless") make great fun out of the contrast between the kids, so drab and grungy, and Suzanne, who's dressed to kill.

Sure enough, when Larry suggests that Suzanne give up her weather reports, the idea of killing comes to mind. Killing Larry, that is. So Suzanne sets out to seduce Jimmy and his friends with all the come-hither professionalism -- quite a lot -- that she has brought to reporting the weather and clawing her way up the career ladder. When the evil deed is committed, Suzanne tries to keep a safe distance, but she is present at the crime scene in just the right fashion.

"To Die For" does not have to ask how a young man and woman from perfectly nice families (Dan Hedaya and Maria Tucci make properly dismayed parents for Larry) could come to this. It already knows, and we should too. The film doesn't have to hammer home its thought that a tabloid-based culture rewards virtue and notoriety equally well, and that it is possible in this climate to be a killer and even come out ahead, at least in terms of fame and fortune. Happily, the film has other plans for Suzanne, skewering her with her own ethnic prejudices in the process.

Suzanne would not see those ideas of hers as small-minded. She thinks of herself as eminently sensible, as when she suggests that "Mr. Gorbachev -- you know, the man who ran Russia for so long?" would have fared better politically with makeup covering the birthmark on his forehead. Not even when it turns murderous does Suzanne lose her certitude in that kind of pragmatism.

So pity poor Jimmy. Rivetingly played by Mr. Phoenix with a raw, anguished expressiveness that makes him an actor to watch for, Jimmy is both tempted and terrified by Suzanne's slick amorality. In that, he speaks for us all.

"To Die For" is rated R (Under 17 requires accompanying parent or adult guardian). It includes sexual situations, strong language and brief, deadly violence.

TO DIE FOR Directed by Gus Van Sant; written by Buck Henry, based on the book by Joyce Maynard; director of photography, Eric Alan Edwards; edited by Curtiss Clayton; music by Danny Elfman; production designer, Missy Stewart; produced by Laura Ziskin; released by Columbia Pictures. Running time: 103 minutes. This film is rated R. WITH: Nicole Kidman (Suzanne Stone), Matt Dillon (Larry Maretto), Joaquin Phoenix (Jimmy Emmett), Casey Affleck (Russell Hines), Illeana Douglas (Janice Maretto), and Alison Folland (Lydia Mertz)

By Peter Travers

Peter Travers

What’s worth dying for? Forget love, honor and Mom’s apple pie if you’re using Hollywood as a barometer. The fall film festivals in Toronto and New York are packed with movies about deluded media junkies willing to die and even kill for a few bucks or a blow job. So much for power, wealth and passion. Fame is reduced to doing the weather on a 10-watt cable channel.

At least it is for leggy and lethal Suzanne Stone Maretto, the newlywed careerist played by Nicole Kidman in To Die For. Suzanne is stuck in the sticks of Little Hope, N.H., with husband Larry Maretto (Matt Dillon). Larry, a bartender in his mob-connected father’s restaurant, wants a family. Suzanne, a junior-college graduate in electronic journalism, wants out. If she divorced Larry, she would lose the condo, the car and the cash for the figure-hugging, brightly colored fashions she wears as the local cable-TV weather girl. Better to just have her 16-year-old lover, Jimmy (Joaquin Phoenix), kill Larry.

It sounds awful — like a tawdry rehash of the Pamela Smart case that spawned a tabloid frenzy and several TV movies. But To Die For , sparked by a volcanically sexy and richly comic performance by Kidman that deserves to make her an Oscar favorite, is prime social satire and outrageous fun. Director Gus Van Sant sets up the media as a poison piñata, and screen-writer Buck Henry, adapting the 1992 novel by Joyce Maynard, whacks at the target with the sharp edge of his wit, spilling the contents for observation and rude laughs.

The film begins, aptly enough, with Suzanne facing a camera, telling her story in flashback. Although her boyfriend has fingered her for putting him up to murder, she is poised, with every hair in place. Her gods are Jane Pauley, “who I strongly relate to because of our similar physical types, although I, thankfully, don’t have to struggle with a weight problem like she does”; and plastic surgery — hint, hint for “Mr. Gorbachev, the man who ran Russia for so long, who would still be in power today if he had that big purple thing taken off his forehead.”

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Kidman is uncanny at catching the speech patterns, prejudices and killing ambition of this TV baby who believes nothing is worth doing if nobody’s watching. Larry, played by Dillon with endearing naiveté, never stood a chance. His ice-skater sister, Janice (a wonderfully caustic Illeana Douglas), who knows cold when she sees it, warns him off Suzanne. But Larry is besotted, even when Suzanne picks Florida for a honeymoon spot so she can go off to a media conference when he’s out fishing. Larry doesn’t know his wife also sneaked a quickie with a famous TV exec (George Segal), who tells her that a famous female broadcaster got started through a letter of reference that she really wrote herself about how “Miss So-and-So is of moderate intelligence and, more importantly, can suck your cock till your eyes pop out.”

Suzanne prepares such a letter when she visits Ed Grant (Wayne Knight), the fat local-station manager whom she manages to cajole into making her a weather girl. Suzanne is soon lit up with dreams of Los Angeles stardust that don’t include Larry. Her ideal couple is “ Entertainment Tonight ‘s John Tesh and his lovely actress wife, Connie Sellecca, who are able to spend their evenings at home sharing their mutual expertise in lighting, makeup, camera angles and so forth. That to me is what relationships are about.”

Suzanne is a demonically hilarious creation, and Kidman, looking like an erotic ice cream sundae in her pastel suits, teddies and fuck-me pumps (the deliciously droll work of costume designer Beatrix Aruna Pasztor), is pure temptation. At the Little Hope high school, Jimmy and his loser friends, Russell (Casey Affleck) and Lydia (Alison Folland), are dumbstruck just watching Suzanne sashay to class to recruit volunteers for her “Teens Speak Out” report. Kidman struts her stuff — bidda-bim-bidda-boom — with enough come-on carnality to singe the screen. There is much crotch grabbing among the boys, although Jimmy senses something else, something “clean.” Says Lydia: “I thought Suzanne was like a goddess of some kind — like Lady Di before she dumped the prince and went nudist.”

Pop-culture references rebound to expose barren lives. Van Sant, along with cinematographer Eric Alan Edwards and editor Curtiss Clayton — both superb collaborators with the director on Drugstore Cowboy, My Own Private Idaho and the misguided Even Cowgirls Get the Blues — structure the film around interviews with Suzanne and the people she uses. The film often turns to comment on itself in deference to Suzanne’s demented dictum that “you aren’t anybody in America if you’re not on TV.”

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The national obsession with turning lawbreakers into celebrities is a hopelessly moldy theme. Van Sant revitalizes it by showing compassion for the three teens seduced by the distorted mirrors that Suzanne holds up to them. The overweight Lydia will aid Suzanne in a murder for a dim promise of friendship and a job as her assistant. Horny Russell will do it for a few CDs and a chance to look up her skirt. Folland and Affleck skillfully capture the pang of adolescence among no-hopers. Joaquin Phoenix, River’s brother, cuts deeper. Jimmy is a trailer-park punk with nothing, then there’s this bombshell going down on him in motels, taking her mouth off him to ask when he’s going to kill her husband and not putting her mouth back on him until he names the date. Jimmy’s raging hormones supply the answer. Phoenix is shattering in the scene when a scared Jimmy shoots Larry at home as Suzanne, on TV, wishes her husband a happy first anniversary. Jimmy tells the police he calmed his nerves by thinking about lying around some topless beach with Suzanne and working on her TV show. Larry’s fate is sealed when Suzanne tells Lydia, “Larry is a nice guy, but he doesn’t know a thing about television.”

At the end of To Die For , Suzanne gets hers, but she also gets the last close-up — an eerily beautiful freeze frame that lingers in the memory long after the image dissolves into dots. Although Van Sant makes wicked sport of television, he doesn’t underestimate its power to blind us to its faults and bring us to our knees.

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To Die For Review

01 Jan 1994

101 minutes

Avoiding the gritty realism that inevitably seems to consign most low-budget British movies to the worthy-but-dull status, this tackles a serious subject matter — AIDS — through the unusual perspective of a ghost story.

Simon (Arklie) divides his time between picking up one-night stands at gay clubs and a stormy home-life with his pub drag queen lover Mark (Williams). No sooner has Mark died of AIDS, however, than Simon is bringing a pick-up back to their flat, but a mysterious combination of doors locked from the inside and the car alarm going off for no apparent reason, persuades his new-found object of desire to skedaddle pretty quickly. Simon then begins to hear Mark’s voice on his answering machine and crooning on the radio, before his undead lover materialises to force Simon to face-up to his feelings of bereavement before he can properly pass into the hereafter.

Beyond the two competent leads, the rest of the cast — which includes Dillie Keane as Siobhan, Simon’s upstairs neighbour, Slattery as her boyfriend Terry, and Altman as Simon’s laddish, fiercely anti-gay workmate Dogger — are mildly amusing, but seem more like exiles from TV sitcomland. Dedicated by director Litten to a close friend who died of AIDS, his unusual movie is to be commended for wearing its heart so openly on its sleeve while remaining accessible to a mainstream audience. Even if it doesn’t exactly reach the dizzying heights of Truly Madly Deeply it still comes across as far more intelligent than Ghost.

To Die For (United States, 1995)

Following the disastrous Even Cowgirls Get the Blues (my selection for the worst film of 1994), it's a safe bet that Gus Van Sant's next move had to be a proverbial "step in the right direction." In fact, with the biting satire To Die For , the director has made a significant move towards regaining his reputation. This movie is no masterpiece, but it is an electric, colorful production that roasts the media and those obsessed by it over an open flame. It also does a far better job than Oliver Stone's bloated Natural Born Killers at satirizing the American public's unending fascination with the televised glamor of crime.

Told in an effectively disorganized fashion that jumps back and forth in time and includes pseudo-interviews and pieces of "actual" story, To Die For gradually unravels the tale of TV weatherperson Suzanne Stone (Nicole Kidman), who gains national notoriety as the result of a murder conspiracy rap that she beats. Her face and story are everywhere -- Donahue, USA Today , and smaller talk shows across the country. For someone with Suzanne's vapid philosophy that "You're not anyone in America unless you're on TV," this is paradise.

More than a year before the end of the film (which is also the beginning), Suzanne is a single young woman in the town of Little Hope, New Hampshire. She has the looks, but not much intelligence to go with them. Despite that (or perhaps because of it), she catches the eye of local hunk Larry Maretto (Matt Dillon), an all-around nice guy and the son of a reputed mobster. Larry falls head-over-heels, and there are soon nuptials, with Suzanne wearing an exact replica of Maria Shriver's wedding veil. Not long after that, Larry has been transformed from "Van Halen to Jerry Vale" and is beginning to bore Suzanne with his desire to become a father, especially now that her career is taking off with a daily job as the weathergirl at a local cable station.

Van Sant, whose previous efforts include Drug Store Cowboy and My Private Idaho , is not an accomplished satirist, but his screenwriter, Buck Henry (adapting from a book by Joyce Maynard), is. The humor in this film is more often intellectually tantalizing than laugh-aloud funny. Suzanne is the embodiment of the extreme celebrity worship that has made the O.J. Simpson circus into the biggest TV event of all time. In the main, Van Sant and Henry know just how to exploit that element of their film. Yet the ending is a letdown. Unlike The Player , which invited the viewer to chuckle all the way to the fade-to-black, To Die For abandons parody for a disappointingly traditional wrap-up (although there is an in-joke for those who recognize David Cronenberg). Fortunately, this shift in tone doesn't happen until late in the proceedings.

Nicole Kidman does a wonderful job as the vacuous, vicious Suzanne, and a trio of young actors -- Joaquin Phoenix, Alison Folland, and Casey Affleck -- are suitably vacant-eyed as the dunces she manipulates into murder. It takes a strong performance to successfully portray a character with so little mental capacity, and these three come across as completely clueless. Kidman, however, steals the film, playing Suzanne with a seductive gusto that results in her best work since Dead Calm .

To Die For has its share of truly delicious sequences, and some biting dialogue worth killing for. The best moments occur during a taped interview with Suzanne where she discusses her frighteningly shallow theories about life, death, television, and keeping her maiden name for on-air work. In the end, however, To Die For doesn't go quite far enough -- there are times when Van Sant stays a little too conventional, and this causes the picture to have only teeth when it could have had fangs.

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Which sibling will die? It's up to them in clever psychological thriller 'Humane'

In a future when the government pushes human sacrifice, family members face a cruel but captivating dilemma..

Jay Baruchel (from left), Emily Hampshire and Alanna Bale play siblings forced to decide which family member will be euthanized in “Humane.”

Just last week we had the release of “Abigail,” which had a group of shady characters trapped in a secluded mansion with their hostage, who turns out to be the daughter of Dracula, whoops. Now comes “Humane,” with a group of shady characters trapped in a secluded mansion and facing off against an equally dangerous and at times even more terrifying force:

Their fellow siblings.

Given that the director of “Humane” is Caitlin Cronenberg, sister of Brandon Cronenberg (“Infinity Pool”) and daughter of David Cronenberg (“Scanners,” “The Fly,” et al.), one might expect this to be a blood-soaked body horror film, and there are some delightfully squeamish scenes — but this is primarily a psychological thriller, an update/variation on “The Fall of the House of Usher.”

“Humane” is set in a near future in which a terrible global ecological event has resulted in an emergency food shortage and has prompted governments to enact emergency measures designed to reduce the world’s population by 20%, and by “reduce,” we mean one in five adults has to go. If you enlist in the government’s euthanasia program, you’ll be hailed as a hero, and your surviving family members will be awarded a life-changing pile of cash. (As you can imagine, the wealthy and the privileged are far less likely to enlist than oppressed and poor minorities.)

With a clever script by Michael Sparaga paving the way over a running time of just over an hour and a half, “Humane” is set on the grounds of the cavernous and remote estate of the York family patriarch, Charles (Peter Gallagher), a famed and powerful news anchor who has recently retired. Charles shares the home with his most recent wife, Dawn (Uni Park), who doesn’t say much and has an almost menacing way of preparing a lavish dinner. (Turns out Dawn had to close her restaurant because of the food shortage, so that partially explains her mood. Full explanation coming in a moment).

Charles has invited his four grown children, who all resent Charles and who barely keep in touch with one another, for dinner. The quartet includes Jay Baruchel’s Jared, who has become a paid shill for the government and is a ubiquitous presence on TV, touting the benefits of enlisting; Emily Hampshire’s Rachel, a cold and blunt-speaking pharma executive, who has brought along her young daughter, Mia (Sirena Gulamgaus), even though Charles specified the dinner should be for the adult family members only; youngest sister Ashley (Alanna Bale), an aspiring actress whose career is going nowhere fast, and the adopted Noah (Sebastian Chacon), a recovering addict who bears a facial scar and perhaps even more troubling emotional scars. Fine performances by all.

After the family trades a few opening barbs and insults, Charles makes the big announcement: He and Dawn have enlisted, and in fact this will be their last night together, as the Department of Citizen Strategy (DCS) is about to arrive to euthanize Charles and Dawn. (It’s not as if the family needs the money, but Charles has his reasons.) The siblings are still processing this insane news when Dawn has a change of heart and runs off, and that’s very bad news for the rest of the group, because the law mandates that once two family members have signed off on an enlistment, the DCS ain’t leaving until they’ve got two bodies.

Enrico Colantoni plays a cheery government agent charged with putting down human volunteers.

Enter Enrico Colantoni’s Bob as a DCS agent who truly relishes his work, and it’s no hyperbole to say Colantoni takes over the movie every time he’s onscreen with his entertaining portrayal of the disarmingly cheerful and quite scary Bob, who uses terms such as “cadaver procurement” as he casually explains to the siblings that they have two hours to decide which of them is going to take Dawn’s place. In the meantime, Bob will be just outside in his trailer, keeping watch over young Mia as a kind of collateral. If the family doesn’t produce a body when those 120 minutes are up, Bob and his heavily armed henchmen will make the decision for them. (The conversations between Bob and Mia in that trailer are something else. Great dialogue, and Colantoni and young Sirena Gulamgaus are terrific together.)

How’s that for your warped and weird predicament? We learn more about the darkness inside each of the four siblings as they play the ultimate game of “Survivor” — forming alliances, betraying those alliances, physically attacking one another. The knives are out, in more ways than one. We don’t completely buy every late twist and turn, but “Humane” keeps us in its throes to the end.

'Civil War' Is Now A24’s Second-Biggest Hit of All Time at the Domestic Box Office

Alex Garland's divisive film has overtaken the likes of 'Uncut Gems', 'Hereditary', and 'Moonlight'.

The Big Picture

• Civil War is A24's second-highest grossing film at $51 million, surpassing favorites like Lady Bird and Hereditary .
• The dystopian action movie is generating buzz for its divisive subject matter and strong performances from the cast.
• A24 is breaking into big-budget cinema with Civil War and eyeing future projects like adapting Death Stranding into a film.

In just over two full weeks of release, writer-director Alex Garland ’s Civil War has already become the second-biggest film in indie outfit A24’s history. Having been granted the studio’s biggest-ever budget of $50 million, the dystopian action movie passed the $50 million mark on its third Friday in domestic theaters, overtaking Uncut Gems ’ lifetime haul to claim the number two spot on the list of A24’s highest-grossing films. The studio’s top-grossing film of all time remains Everything Everywhere All at Once , which concluded its domestic run with $77 million a couple of years ago, and went on to win the Academy Award for Best Picture.

Civil War added $1.9 million this Friday, taking its running domestic total to $51 million in just 15 days . The chances of the film eventually overtaking Everything Everywhere All at Once look bright, especially since it's doing so well on Premium-Large Format and IMAX screens. The controversies that Civil War has generated because of its divisive subject-matter are also helping draw attention, no doubt. Set in a near future America that has been divided by a civil war , the film follows a group of war journalists on a cross-country journey to Washington D.C. , where they intend to cover the capture of the dictatorial president.

Civil War ’s $51 million gross puts it ahead of memorable A24 movies such as Lady Bird and Talk to Me (both with $48 million), Hereditary ($44 million), The Iron Claw ($35 million), Moonlight and Midsommar (both with $27 million), and Garland’s own Ex Machina , which concluded its domestic run with $25 million. The acclaimed filmmaker now has two movies on A24’s all-time top 10 list . Global numbers for Civil War are a little sketchy, with A24 having sold overseas distribution rights to local companies. But a Variety report from last week put the film’s global haul at around $70 million, which means that it is, at the very least, among the top 5 highest-grossing A24 films on the global chart .

'Civil War' Ushers A24 Into a New Era of Big-Budget Cinema

The indie studio is looking to level up after a decade producing some of the most acclaimed small-budget genre movies of recent times . In these 10 years, A24 has also earned a tremendous amount of brand recognition , which certainly played a major role in facilitating Civil War ’s record opening of $25 million — nearly twice as high as the previous record-holder Hereditary ’s $13 million debut. This is a notable pivot, considering A24 won Oscars in all six major categories just two years ago, when Everything Everywhere All at Once won Best Picture plus five acting Oscars, and The Whale picked up Best Actor for Brendan Fraser . The studio will soon be turning Hideo Kojima ’s “Death Stranding” video game into a live-action film.

Reviews for Civil War have been mostly solid . The movie earned a B- CinemaScore, and currently sits at a “fresh” 81% approval rating on the aggregator platform Rotten Tomatoes . In his review, Collider’s Matthew Donato called it Garland’s “best film,” and praised Kirsten Duns t’s lead performance as the desensitized photographer Lee Smith. Civil War also stars Wagner Moura , Cailee Spaeny , Stephen McKinley Henderson , and Jesse Plemons in a scene-stealing cameo. You can watch the film in theaters, and stay tuned to Collider for more updates.

The film follows events in the U.S. during a civil war. Government forces attack civilians. Journalists are shot in the Capitol.

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To Die For Reviews

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Shogun Ending Explained & Recap: Did Toranaga Win in the Finale?

By Vansh Mehra

Here’s the Shogun ending explained and a recap of the finale featuring spoilers about what happened. Dive into our breakdown and learn about the fates of Yoshii Toranaga, John Blackthorne, and Kashigi Yabushige, among others.

What happened at the end of Shogun and who dies?

Shogun ended with Toranaga finally revealing his plan of becoming Shogun to Yabushige before aiding him in committing Seppuku.

The final episode saw the return of Yabushige, John Blackthorne, and Toranaga’s consorts to Edo, post Lady Mariko’s sacrifice. Yabushige was guilt-stricken with her demise because he was the one who led the intruders into the Osaka castle. He admitted to his crime and was sentenced to commit Seppuku the following day.

Before going out, he named Omi his heir and had a final conversation with Toranaga. He regretted not getting to see the lord’s plan come to fruition, and not knowing what it was. So, Toranaga fulfilled the dying man’s wish. He revealed how he managed to execute Crimson Sky without sending his army to Osaka.

Instead of the army, he sent Lady Mariko. Her sacrifice caused distress across the city. It led all the important families to flee the land as they realized that they were being held hostage. Furthermore, the attack on Mariko divided the Council of Regents. While Ishido believed they were all united, Mariko’s death had already sown the seeds of division between them.

Most importantly, it had turned Lady Ochiba to Toranaga’s side. In the secret letter that she sent to Toranaga, she pledged her loyalty to him, burning her ties with Ishido. With no support from the heir or Lady Ochiba, Ishido’s defeat was imminent.

Before dying, Yabushige asked Toranaga whether he wanted to be Shogun, to which the latter didn’t reply. But stabbing himself, Yabushige smiled at Toranaga, finally understanding his true plan. The lord smirked back and sliced Yabushige’s head off. His little smile implied that it was indeed his plan to become the true Shogun of Japan the entire time.

How did Toranaga win the war and become Shogun?

Lady Mariko’s demise changed Lady Ochiba’s heart and she no longer supported Lord Ishido. With the latter not fighting under the heir’s banner, he would no longer have the support of other regents, thus leading to Toranaga’s victory.

The finale of Shogun subverted fan expectations by not delivering the Battle of Sekigahara from the books. While Toranaga’s smaller army would eventually go to war against Ishido and the other armies of the regents, they wouldn’t have to fight as Ishido had already lost.

Knowing that the heir’s army was supporting Toranaga instead of Ishido, the regents would also fall back and ally themselves with Toranaga. That would give the Lord of Kanto the ultimate power and begin his Shogunate. In this era, he would have the ultimate military power and create a nation without wars, with the backing of Taiko’s heir.

All this was possible with the efforts and sacrifices of Nagakado, Hiromatsu, and Mariko, and masterful use of Yabushige and John Blackthorne.

What happened to John Blackthorne?

John Blackthorne’s fate was to never leave Japan and Toranaga made sure of it.

The Anjin realized that his ship wasn’t destroyed by a traitor in Ajiro but as a part of the deal that Lady Mariko made with the church to keep him alive. However, it was Toranaga who orchestrated that and had the ship destroyed to test Blackthorne. The Englishman passed his test and let go of his own personal war.

On Toranaga’s order, he began to rebuild the ship and decided to stay by Toranaga’s side to build him a fleet. He initially thought that he was using the lord. But the latter revealed that he was using the Anjin to cause distractions that would ultimately help him in becoming Shogun. Toranaga admitted that he kept Blackthorne alive because the merchant made him laugh.

Towards the end, Blackthorne lets go of Mariko’s cross, proving that the scenes showcasing him as an old man in England in the future were merely visions or dreams. But, his future was in Japan and even James Clavell’s Shōgun novel implied that Blackthorne never went back to England.

The series stays true to the book as Toranaga would always burn his ship down (orchestrate a scheme) to keep him by his side. Blackthorne’s fate lay in Toranaga’s hand and he had accepted that.

For more Shogun updates, learn whether it is based on a true story or not .

Vansh is an SEO Contributing Writer for ComingSoon. His passion for cinema and the superhero genre is what turned him into a movie/series analyst. In his spare time, Vansh can be found screaming at his screen while watching cricket matches or binging all sorts of streaming content to brush up on his entertainment knowledge.

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Shogun Episode 9 Ending Explained & Recap: Does Mariko Die?

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Movie Reviews

A dying father looks for the perfect family to adopt his son in 'nowhere special'.

Bob Mondello

A young single dad is on a mission in the film Nowhere Special . With a terminal illness and no family to turn to, he's searching for the perfect adoptive family for his four-year-old son.

AILSA CHANG, HOST:

British actor James Norton stars in the BBC crime series "Happy Valley," and he's also on many a shortlist to be the next James Bond. But critic Bob Mondello says Norton's new father-son film, "Nowhere Special," finds him in a gentler, more vulnerable place.

BOB MONDELLO, BYLINE: John is a window washer in Belfast, going about his trade so unobtrusively you'd never notice him if the camera weren't turned his way. But there's a reason it's turned his way.

(SOUNDBITE OF FILM, "NOWHERE SPECIAL")

JAMES NORTON: (As John) This is the biggest decision of my life. Don't they understand? Don't you?

MONDELLO: John has just a few months to live, which is made doubly challenging because John has a 4-year-old son, Michael. His decision, in tandem with the social services folks he's talking to, is about what happens next.

NORTON: (As John) It's not about me wanting to be right. It's...

UNIDENTIFIED ACTOR #1: (As character) I do understand. That's why I'm here.

MONDELLO: Michael's mother abandoned them shortly after he was born, and with no other family members, John must now find his toddler a new family. And he's full of doubts.

NORTON: (As John) It's Michael. I always thought that I knew him. I mean, I do, I do. You know, he's my son. But do I know him, really know him, you know, enough for this?

MONDELLO: The social services team has lists of folks who are eager to adopt, among them a postman and his wife who have adopted before...

UNIDENTIFIED ACTOR #2: (As character) Your child will be part of a big family.

UNIDENTIFIED ACTOR #3: (As character) Real people that respect you. Not people who talk down to you, know what I mean, John?

MONDELLO: ...A chilly transactional household that feels all wrong...

UNIDENTIFIED ACTOR #4: (As character) Doesn't really look like his photo, does he? - or you. Does he look like the mother?

MONDELLO: ...A wealthy couple who could offer Michael things John couldn't...

UNIDENTIFIED ACTOR #5: (As character) Does he like nature? We're very outdoorsy people. We like to go for long walks, as you can see.

UNIDENTIFIED ACTOR #6: (As character) And of course we can afford the best education for our son. I mean, your son.

MONDELLO: ...All while James Norton's quietly devastated John is trying to figure out what he can possibly say to Michael as every moment grows more precious.

NORTON: (As John) Would you like to live somewhere else, in a different time, different home?

DANIEL LAMONT: (As Michael) I like home.

MONDELLO: Played by a doe-eyed Daniel Lamont, Michael seems to sense that something's amiss, and, heartbreakingly, his instinct is to reassure and comfort, using his own blanket to cover daddy when he's resting on the couch and turning pages at story time.

NORTON: (As John) He gave his dad a little wave. Page. And when he reached the other side, his father's heart was full of pride.

MONDELLO: Writer-director Uberto Pasolini lets all of this play out without grandstanding. The filmmaker doesn't embellish. We don't even hear what illness afflicts John. We just see things through his eyes, a window washer's eyes. He's used to catching glimpses through glass of worlds he'll never enter. But to have his son's future be like that? The ache is enormous, even as he finds the words Michael needs and a safe harbor just as his window for decision-making starts to close.

I'm Bob Mondello.

(SOUNDBITE OF MUSIC)

Copyright © 2024 NPR. All rights reserved. Visit our website terms of use and permissions pages at www.npr.org for further information.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

Media Decision US

15 Movies Everyone Needs to See Before They Die

Posted: April 27, 2024 | Last updated: April 27, 2024

Movies have a magical way of transporting us to different worlds, introducing us to unforgettable characters, and making us feel a wide range of emotions. From thrilling adventures and heartfelt dramas to mind-bending sci-fi, films can offer new perspectives and broaden our understanding of the world.

1. The Godfather (1972)

Directed by Francis Ford Coppola, this film is often at the top of must-watch lists for good reason. It’s a powerful look at a Sicilian mafia family in America, led by the formidable Vito Corleone, played by Marlon Brando.

The movie explores themes of power, family, and loyalty, and its impact on cinema is immeasurable. The Godfather’s narrative depth, character development, and cinematic beauty make it an essential viewing experience.

2. Schindler’s List (1993)

Steven Spielberg’s harrowing depiction of the Holocaust centers on Oskar Schindler, a German businessman who saved over a thousand Jewish refugees by employing them in his factories.

The film is both a testament to the horrors of the Holocaust and a tribute to the human capacity for bravery and compassion. Shot mostly in black and white, it’s a poignant and moving piece that challenges viewers to confront the darkest parts of history and humanity.

3. The Shawshank Redemption (1994)

This film, based on a Stephen King novella, is a story of hope and friendship set against the backdrop of a harsh prison environment. Tim Robbins plays Andy Dufresne, a banker who is wrongly convicted of murder, and Morgan Freeman portrays Red, a wise longtime inmate.

Their friendship and the themes of hope in the face of despair have resonated with audiences, making it a beloved classic.

4. Inception (2010)

Christopher Nolan’s sci-fi thriller takes viewers on a mind-bending journey into the depths of the human subconscious. The plot revolves around Dom Cobb (Leonardo DiCaprio), a thief who enters the dreams of others to steal or implant ideas.

With its complex narrative structure and groundbreaking visual effects, Inception not only entertains but also engages the intellect and sparks discussions about reality and illusion.

5. Casablanca (1942)

Set during World War II, this romantic drama stars Humphrey Bogart and Ingrid Bergman and is celebrated for its timeless story of love and sacrifice.

The chemistry between the leads, the memorable lines, and the moral dilemmas they face, all set against the backdrop of a world at war, have made “Casablanca” an iconic film that continues to enchant new generations of viewers.

6. Star Wars: Episode IV

A New Hope (1977) – George Lucas’s epic space opera revolutionized special effects in filmmaking and introduced the world to the Force, Jedi, and Sith.

The story of Luke Skywalker’s journey from farm boy to hero is a universal tale of adventure, heroism, and the battle between good and evil. Its influence on both pop culture and the film industry is profound, making it a seminal piece in cinematic history.

7. Pulp Fiction (1994)

Quentin Tarantino’s masterpiece is a cultural phenomenon that redefined what a narrative could be. The film interweaves multiple stories of crime and redemption in Los Angeles with sharp dialogue and memorable characters.

Its non-linear storytelling, eclectic soundtrack, and blend of humor and violence have made it a staple in modern cinema. “Pulp Fiction” not only entertains but also has been a major influence on filmmakers since its release.

8. Forrest Gump (1994)

This film is a touching tale of a simple man whose innocent optimism leads him through decades of American history. Tom Hanks delivers a remarkable performance as Forrest, an unwitting influencer of historical events, with a narrative that balances humor, heartbreak, and triumph.

The movie’s emotional depth and its exploration of destiny and coincidence make it a heartwarming and thought-provoking film that resonates with many.

9. The Matrix (1999)

A groundbreaking sci-fi action film that challenges perceptions of reality and technology. Keanu Reeves stars as Neo, a hacker who discovers that his world is a simulated reality. The film is famous for its innovative visual effects, including the iconic bullet-dodging scene.

“The Matrix” is a critical analysis of technology’s role in society and a high-octane adventure that has captivated audiences with its philosophical undertones.

10. Gone with the Wind (1939)

This epic historical romance set during the American Civil War and Reconstruction era offers a dramatic and sweeping look at the southern United States during one of the most turbulent times in its history.

It follows Scarlett O’Hara, a strong-willed daughter of a plantation owner, in her journey of love, war, and survival. The film’s grand scale, memorable characters, and dramatic scope make it a timeless classic.

11. Amélie (2001)

A visually stunning and whimsical tale of a young woman in Paris who decides to change the lives of those around her for the better, while grappling with her own isolation.

The film, directed by Jean-Pierre Jeunet, features a charming performance by Audrey Tautou. Its blend of humor, romance, and mystery creates a magical experience that encourages viewers to find joy and wonder in the small details of everyday life.

12. Eternal Sunshine of the Spotless Mind (2004)

This film blends elements of romantic comedy with science fiction to explore the complexities of relationships and the pain of loss. Jim Carrey and Kate Winslet deliver exceptional performances as a couple who have undergone a procedure to erase memories of their relationship.

The innovative narrative structure and emotional depth examine the nature of memory and love in a way that is both inventive and moving.

13. To Kill a Mockingbird (1962)

This adaptation of Harper Lee’s novel offers a powerful exploration of racial injustice in America through the eyes of a young girl named Scout. The story is centered around Scout’s father, Atticus Finch, a lawyer who defends a black man unjustly accused of rape in the Depression-era South.

Gregory Peck’s iconic performance as Atticus Finch offers a model of integrity and righteousness in the face of prejudice and ignorance. The film’s poignant narrative and moral lessons make it an enduring classic that continues to resonate today.

14. La La Land (2016)

A modern musical that captures the joy and heartbreak of pursuing your dreams. Emma Stone and Ryan Gosling star as an aspiring actress and a jazz musician who meet and fall in love in Los Angeles. The film is a vibrant celebration of love, creativity, and the arts, featuring stunning cinematography and memorable musical numbers. “La La Land” reinvigorates the musical genre with a bittersweet story about the sacrifices made for love and career.

15. 12 Angry Men (1957)

This gripping courtroom drama unfolds in a single room where twelve jurors must decide the fate of a teenager accused of murder. As the jurors deliberate, their own prejudices and preconceived notions about the defendant come to light.

The film is a masterclass in scriptwriting and acting, with its intense dialogue driving the plot forward. “12 Angry Men” is a compelling look at justice and the complexities of human nature.

12 of the Most Annoying TV Show Characters of All Time, According to the Internet

There are plenty of characters on TV that just plain irk you, but a few are written so irritating that it actively detracts from the show. We tracked down some fan answers with what they thought the most annoying TV show characters of all time was and these were some of the most popular answers.

A few characters were written annoying on purpose but others seem to be the victim of bad writing or poor acting. Either way, they sure make some of these shows hard to watch!

The 12 Most Epic Opening Scenes in Movie History

Opening scenes matter: they set the tone for the entire film. We wanted to know what the greatest opening scenes in movie history were – so we rounded up the best fan answers to this very question.

Some of these opening scenes are so iconic you can almost picture the whole thing in your mind. Others stood out stronger than the rest of the film, making it all you might remember. From action-packed to utter tearjerkers, these iconic opening scenes are often considered to be the greatest in movie history.

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• Cast & crew

Furiosa: A Mad Max Saga

The origin story of renegade warrior Furiosa before her encounter and teamup with Mad Max. The origin story of renegade warrior Furiosa before her encounter and teamup with Mad Max. The origin story of renegade warrior Furiosa before her encounter and teamup with Mad Max.

• George Miller
• Nick Lathouris
• Anya Taylor-Joy
• Chris Hemsworth
• Angus Sampson
• 1 Critic review

• Dr. Dementus

• The Organic Mechanic

• Praetorian Jack

• Rictus Erectus

• Young Furiosa

• Immortan Joe …

• Pregnant Wife #2

• Warboy Recruit

• The Octoboss

• Treadmill Rat

• Pregnant Wife #1

• All cast & crew
• Production, box office & more at IMDbPro

Cannes 2024 Film Festival Guide

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• Trivia Filmed in New South Wales, Australia. All Mad Max movies have been filmed in Australia, with the exception of Fury Road, when record rain falls transformed the normally arid desert areas into lush green growth areas.

Monologue : 45 years after the collapse, a young Furiosa is taken from her family. She will devote the rest of her life to finding her way home. This is her odyssey.

• Connections Featured in The Project: Episode dated 1 December 2023 (2023)

New and Upcoming Sci-fi & Fantasy

• When will Furiosa: A Mad Max Saga be released? Powered by Alexa
• Who is Chris Hemsworth playing?
• May 24, 2024 (United States)
• Furiosa: Câu Chuyện Từ Max Điên
• Melrose Park, Sydney, New South Wales, Australia
• Warner Bros.
• Kennedy Miller Mitchell
• See more company credits at IMDbPro
• $168,000,000 (estimated)

Technical specs

• Runtime 2 hours 28 minutes

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