Jack Huston

In Spider-Noir (2026), Jack Huston's Flint Marko makes a convincing entrance as a threat, then is asked to keep looking threatening. We were frustrated by the part, because his appearance promises more than the series gives him to do. The cast is better than the material, and Huston is among those left waiting for it to improve. We would not mistake the thin writing for a lack of ability, but there is little here on which to build a character.

Richard Harrow, the disfigured First World War veteran behind a tin mask in Boardwalk Empire (2010–2014), gave him far more to work with. His breakthrough role drew on physical and vocal transformation, the skills that make him useful in a crowded cast. Supporting work in American Hustle (2013) continued that ensemble career before Ben-Hur (2016) put him at the centre as Judah Ben-Hur. As a heroic lead he was less persuasive, lacking the force the part needed. The move was understandable, but the larger part did not make better use of his strengths.

In Martin Scorsese's The Irishman (2019), he plays Robert F. Kennedy within an ensemble that justifies a long evening. We recommend the film for its performances, but would not single out Huston's contribution as the reason to see it. The length occasionally tests our patience and the digital faces distract; neither stopped us recommending the film. The fourth series of Fargo (2020), in which he plays corrupt detective Odis Weff, offers a more characteristic part.

Spider-Noir supplies the caution: Brendan Gleeson's Silvermane is the only villain who seems to want something. That gives Gleeson something to play beyond an intimidating presence, while Huston's Marko has too little to pursue. Huston needs a script that pays as much attention to what his character wants as to how he looks. Start with Boardwalk Empire for the actor; approach Spider-Noir for reasons other than him.