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Netflix’s Charlize Theron‑led thriller Man on Fire drew 11 million views in its first four days after its April 30 premiere, landing it among Netflix’s top titles for the week; overall, the chart was led by Apex with 40.2 million views in its first full week, with Swapped and other titles following in the Netflix Top 10 for April 27–May 3.
Netflix’s new survival thriller Apex delivers relentless tension as Sasha (Charlize Theron) threads a brutal hunt through the Australian wilderness, with Taron Egerton delivering one of his best performances as the hunter. The film thrives on its claustrophobic set-pieces and grim perseverance, though its backstories and final payoff feel rushed. Still, for fans of tense cat-and-mouse thrillers, Apex stands out as a brutal, immersive ride that secures Netflix’s No. 1 spot.
Charlize Theron and Taron Egerton discuss shaping Apex to kill genre tropes, with Theron overseeing a practical, physically demanding production (including Theron doing most climbing) and a collaborative script process that allowed Egerton to evolve into a menacing villain, all grounded in a tense two-hander for Netflix.
Tom's Guide highlights three Netflix thrillers this week, led by Apex, a tense cat-and-mouse thriller starring Charlize Theron and Taron Egerton that drops on Netflix April 24; set in the Australian outback, it follows a grieving climber hunted by a relentless pursuer, with two other thrillers also available to stream this week.
Netflix’s survival thriller Apex pairs Charlize Theron’s Sasha with a relentless hunter in the Australian wilderness, as Taron Egerton’s Ben adds chilling menace. Baltasar Kormákur’s direction and Lawrence Sher’s cinematography deliver brutal, nail-biting chase sequences and stark landscapes, turning this Netflix original into a brisk, big‑screen–quality thriller that debuts on April 24, though the closing credits song feels out of place.
Apex, Desert Warrior, Fuze, and Michael arrive with big budgets and big ideas, delivering moments of excitement but often losing focus in service of spectacle: Apex benefits from Charlize Theron and a tense survival setup but leans into campy horror; Desert Warrior aims for a feminist epic yet struggles with a uneven script and pacing despite striking desert visuals and solid performances; Fuze is a lean, well-edited crime thriller that amasses momentum in the first half but falters with a late twist; Michael relies on nostalgia and showmanship to evoke Michael Jackson but glosses over deeper questions about the artist. Overall, the lineup showcases ambition that isn’t always matched by craft.
Charlize Theron, in a New York Times interview, warned that AI could potentially do Timothée Chalamet’s job in about 10 years, while stressing that live performance art like ballet and opera should not be dismissed. She criticized Chalamet’s earlier remarks about those arts as reckless and out of touch, noting the importance of lifting up these forms. The piece also references public reactions from Jamie Lee Curtis and Conan O’Brien’s Oscars roast, but Theron maintains a nuanced take on the arts and the future of acting.
Charlize Theron criticized Timothée Chalamet’s remarks about ballet and opera in a New York Times chat, saying live performance matters and won’t be replaced by AI; she noted the brutal realities and injuries dancers endure, drawing on her own ballet training, and also discussed her difficult South African upbringing and her family’s trauma.
Charlize Theron publicly rebuked Timothée Chalamet for saying there’s little interest in ballet and opera, praising dancers as superheroes and arguing their discipline matters; she even warned that AI could replace him in the future and said she hopes to meet him to set him straight, amid backlash from the arts world.
Oscar winner Charlize Theron critiques Timothée Chalamet’s remarks about ballet and opera, arguing that AI could eventually replicate his work but live dance remains essential, a stance that sparked backlash from dancers and opera stars.
Charlize Theron recounts the night her mother, Gerda Maritz, shot her drunk, abusive father during a 1991 incident in South Africa, a memory she revisits in a NYT Magazine interview to help other survivors feel less alone and move beyond being haunted by the trauma.
Charlize Theron publicly pushed back on Timothée Chalamet’s remarks about ballet and opera, calling his stance reckless and urging that both art forms be lifted up. Drawing on her own experience with dance, she highlighted the brutal discipline and physical toll dancers endure, and warned that while AI may eventually change some jobs, it can’t replace live performers on stage; her comments follow ongoing backlash since Chalamet’s CNN and Variety Town Hall remarks.
Charlize Theron criticized Timothée Chalamet’s remarks about ballet and opera, arguing that while AI may eventually be able to do his job in about a decade, it can’t replace the live, in-person performance of dance, and she lauds dancers for their discipline and resilience.
Charlize Theron recounts in a New York Times interview the night she was 15 when her mother shot her father in self-defense after a confrontation. She explains the events leading up to the shooting, emphasizes that sharing the story is to help others feel less alone, and says the experience influenced her understanding of relationships and informed her acting.
Charlize Theron discusses growing up in an abusive South African household, detailing how her alcoholic father attacked the family and how her mother shot him in self-defense; she also recounts leaving for Italy at 16 to escape and pursue modeling, while coping with years of shame and guilt about her mother’s actions.