What To Watch This Weekend: 'How To Make A Killing,' 'The Night Agent,' 'The Last Thing He Told Me,' And More

HOLLYWOOD, CA — From a pharma empire to a winter getaway, and from family fractures to full‑tilt action, this week’s watch list spans corporate guilt, emotional fallout, domestic suspense and high‑octane espionage — streaming now or landing across platforms.

“How to Make a Killing” is a sharp, dark comedy about wealth, entitlement and moral decay. Glen Powell stars as Becket Redfellow, a working‑class outsider who decides the only way back into his family’s fortune is to eliminate the relatives standing in his way. John Patton Ford leans into the absurdity of the premise, and Powell grounds it with charm and cool calculation.

“Midwinter Break” follows longtime spouses Stella (Lesley Manville) and Gerry (Ciarán Hinds) on an off‑season trip to Amsterdam that becomes a quiet but piercing reckoning, as buried disappointments and silent fractures surface against the stark calm of winter.

“The Last Thing He Told Me” returns for Season 2, reuniting Hannah (Jennifer Garner), Bailey (Angourie Rice) and Owen (Nikolaj Coster‑Waldau) as long‑buried tensions resurface. Adapted from Laura Dave’s new sequel novel, the season pushes the trio into a deeper, more emotionally charged confrontation with the past.

“The Night Agent” is back with a sharper, more focused Season 3, thrusting Peter Sutherland (Gabriel Basso) into a broader, more volatile milieu.

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Ready to dive in? Scroll down for the full lineup — and step into the shimmering world of storytelling, where every frame offers an escape, with deeper explorations below that unpack performances, themes and craft in greater detail.

What To Watch This Weekend

“How to Make a Killing”

Glen Powell, Margaret Qualley; directed by John Patton Ford

“How to Make a Killing” is a sharp, dark comedy that embraces its own wicked streak. John Patton Ford leans into the absurdity of wealth, entitlement and moral decay, shaping a story that feels both modern and timeless. The film follows Becket Redfellow (Glen Powell), a working‑class outsider who decides the only way back into his family’s fortune is to remove every relative standing in his way. It’s an outrageous premise, but Powell’s performance keeps it grounded. He plays Becket with a mix of charm and calculation that makes his increasingly reckless choices strangely compelling.

The movie’s tone is intentionally uneven. It shifts between satire, thriller, and character study, sometimes smoothly and sometimes with a jolt. That roughness becomes part of its appeal. Ford isn’t aiming for a tidy moral lesson. He’s more interested in exposing the seductive logic behind bad decisions and the casual cruelty that wealth can normalize.

“How to Make a Killing” is messy, stylish and surprisingly funny. It’s a modern fable about ambition gone off the rails, anchored by a lead performance that makes even the darkest moments hard to look away from.

“Midwinter Break”

Ciarán Hinds, Lesley Manville; directed by Polly Findlay

“Midwinter Break,” Polly Findlay’s feature directorial debut, is a quiet, finely etched drama about a long‑married couple confronting the emotional drift that has settled into their lives. Ciarán Hinds plays Gerry, a retired architect grappling with memory, aging and the weight of unspoken regrets. Lesley Manville is equally compelling as Stella, whose calm exterior masks a growing need for clarity and purpose. Together, they create a portrait of a partnership that is tender, frayed and achingly human.

Adapted from Bernard MacLaverty’s novel, the film unfolds with a deliberate, unhurried pace, allowing small gestures and silences to carry emotional weight. Findlay resists melodrama, instead focusing on the subtle negotiations that define a decades‑long relationship. Amsterdam’s winter light becomes a quiet backdrop for the couple’s reckoning, a place where old wounds resurface and long‑buried questions demand answers.

The film is about the spaces between people who know each other best. It captures the ache of realizing that love can endure even as its shape changes, and that starting over is both possible and painful. Anchored by two exceptional performances, it’s a restrained, deeply felt study of aging, intimacy and the fragile hope of renewal. But that same restraint at times softens the emotional impact rather than sharpening it.

“The Last Thing He Told Me” Season 2

Jennifer Garner, Angourie Rice; created by Laura Dave and Josh Singer

Apple TV+ is giving “The Last Thing He Told Me” a second life, setting a February 20, 2026, premiere for Season 2 and reuniting Jennifer Garner, Angourie Rice and Nikolaj Coster‑Waldau.

Drawn from Laura Dave’s sequel novel “The First Time I Saw Him,” the new season again centers on the uneasy bond between Hannah (Garner) and her stepdaughter Bailey (Rice), now living with the consequences of choices that once upended their lives. The story jumps ahead several years, with Owen (Coster‑Waldau) resurfacing and forcing the family to confront the past they’ve tried to leave behind. Judy Greer and Rita Wilson join the ensemble, alongside returning cast member David Morse.

Dave wrote the sequel while the first season was still in production, giving the adaptation an unusual page‑to‑screen synchronicity. With Dave and co‑creator Josh Singer continuing to steer the series, Apple is positioning Season 2 as a deeper, more emotionally charged extension of the original story rather than a reinvention.

Season 2 arrives as a rare expansion of a narrative once designed as a closed‑ended mystery, now evolving into a longer‑arc family thriller that keeps its emotional core firmly intact.

“The Night Agent” Season 3

Gabriel Basso, Luciane Buchanan; created by Shawn Ryan

Season 3 of “The Night Agent” arrives with a sharper sense of control, pushing Peter Sutherland into a broader and more intricate conspiracy that tests him in ways the earlier seasons only hinted at. The story moves with a cleaner rhythm, trading the occasional sprawl of past arcs for a more deliberate pace. The stakes are higher, the political pressure tighter, and the show leans into its thriller identity with a confidence that feels earned.

The expanded scale gives the season a stronger pulse, introducing new players and deeper layers of danger while keeping the narrative focused on Peter’s increasingly strategic role. The action is more precise, and the momentum rarely slips, giving the season a steadiness that helps its twists land with more intention.

Still, the ambition comes with trade‑offs. The larger scope can feel overstuffed, and the push for speed sometimes flattens character moments that could use more space. The show also leans on familiar genre mechanics, which can make parts of the escalation feel predictable.

Season 3 is the most controlled and propulsive version of “The Night Agent” yet, delivering a tighter conspiracy and a more confident sense of direction while accepting a few bumps along the way.