Mrs. Harris Goes to Paris
A widowed cleaning lady in 1950s London falls madly in love with a couture Dior dress, and decides that she must have one of her own. After she works, starves and gambles to raise the funds to pursue her dream, she embarks on an adventure to Paris which will change not only her own outlook, but the very future of the House of Dior.
RATED PG FOR SUGGESTIVE MATERIAL, LANGUAGE, AND SMOKING.
“Nothing wrong with a movie in today’s troubled winter of discontent that exists solely for the purpose of creating joy and good will, and Mrs. Harris Goes to Paris spreads them around like butter.” – Rex Reed, Observer
“Not to gush or go too far overboard, but the warmth of a movie like Mrs. Harris is downright restorative in the viewing, two escapist hours that remind us that everyone is entitled to courtesy, a fair shake and a little beauty and luxury, and most of all, the hope that life can get better.” – Roger Moore, Movie Nation
“It is an uncommon thrill to watch a charming film that comes by its charms organically. Mrs. Harris Goes to Paris knows that fluff is much more satisfying when it has depth, so you can truly sink into it and feel the overwhelming comfort. ” – William Bibbiani, The Wrap
Minions: The Rise of Gru
In the heart of the 1970s, amid a flurry of feathered hair and flared jeans, Gru is growing up in the suburbs. A fanboy of a supervillain supergroup known as the Vicious 6, Gru hatches a plan to become evil enough to join them. Luckily, he gets some mayhem-making backup from his loyal followers, the Minions. Together, Kevin, Stuart, Bob, and Otto—a new Minion sporting braces and a desperate need to please—deploy their skills as they and Gru build their first lair, experiment with their first weapons and pull off their first missions. When the Vicious 6 oust their leader, legendary fighter Wild Knuckles (Alan Arkin), Gru interviews to become their newest member. It doesn’t go well (to say the least), and only gets worse after Gru outsmarts them and suddenly finds himself the mortal enemy of the apex of evil. On the run, Gru will turn to an unlikely source for guidance, Wild Knuckles himself, and discover that even bad guys need a little help from their friends.
RATED PG FOR SOME ACTION / VIOLENCE, AND RUDE HUMOR.
“It all swirls together in a riot of color, action, deadpan gags and musical and martial arts mayhem, a kids’ movie that rushes by you so fast you won’t want to take a concession stand break.” – Roger Moore, Movie Nation
“It’s the antic humour set against the retro décor that acts as a common meeting ground for youth and adults to enjoy Minions: The Rise of Gru together. It’s funny on both age levels.” – John Kirk, Original Cin
“Minions: The Rise of Gru is the perfect movie if you’ve been needing a moment to just laugh, no matter what age you are. Yes, it is an animated film that will appeal to kids for sure, but it’s written with adults in mind, too.” – Alexis Potter, Arizona Republic
Outlander: Season 6
The American Revolution looms in the sixth season based on Diana Gabaldon’s sixth Outlander novel, A Breath of Snow and Ashes.
RATED TV-MA. CONTAINS STRONG VIOLENCE, NUDITY, SEXUAL CONTENT, STRONG LANGUAGE, THEMATIC MATERIAL, AND SMOKING.
“It both tantalizes and satiates at the same time. Outlander fans no doubt will love this new season, but they’ll also be left, as always, wanting more.” – Marah Eakin, The Playlist
“There are undoubtedly bigger storylines brewing in the distance — with the Revolutionary War looming, it’s becoming more and more clear that Jamie, in particular, is going to need to make a definitive choice regarding which side to align himself with — but the show’s choice to limit its initial scope, pulling back from charging so rapidly into yet another life-changing conflict for all of these characters, is one that benefits the series at its current point and as a whole.” – Carly Lane, Collider
“Though there are interesting stories that play out around them [Claire and Jamie], and Season 6 introduces new faces and dramas thanks to the expansion of the local settlement, nothing ever shines quite as brightly as the two of them.” – Allison Keene, Paste
Eiffel (Romain Duris) has finished his collaboration on the Statue of Liberty and is pressured by the French government to design something spectacular for the 1889 Paris World Fair. Eiffel simply wants to design the subway, but everything changes when he crosses paths with a mysterious woman from his past (Emma Mackey). Their long lost, forbidden passion inspires him to build the iconic Eiffel Tower.
RATED R FOR SOME SEXUALITY / NUDITY.
“Taken as a speculative romance, and in the right matinee spirit, it’s lushly engaging, with a star pairing that – appropriately – rivets.” – Tim Robey, The Telegraph
“Issues of class, wealth and power are woven into the tale but this is a bittersweet love story at heart.” – Lisa Nesselson, Screen Daily
“The whole thing is performed with relish and high spirits, and the digital fabrications of the Tower itself, rising out of the ground in stages with hair-raisingly dangerous structural work, are entertainingly contrived.” – Peter Bradshaw, The Guardian
France, 1963. Anne is a bright young student with a promising future ahead of her. But when she falls pregnant, she sees the opportunity to finish her studies and escape the constraints of her social background disappearing. With her final exams fast approaching and her belly growing, Anne resolves to act, even if she has to confront shame and pain, even if she must risk prison to do so.
RATED R FOR DISTURBING MATERIAL / IMAGES, SEXUAL CONTENT, AND GRAPHIC NUDITY.
“This is a heavy-duty topic but rather than lecture or make an angry or ideological film, Diwan works here with restrained and even slightly distant tone, focusing on the character of Anne and her determination to control her own life.” – Karen Gordon, Original Cin
“The film can be unrelenting: Several graphic scenes make it challenging to watch, and more than once, I caught myself holding my breath. As the story’s weeks stretch into months, you can see the tension gather in Anne’s piercing gaze. It’s as if her eyes might set the screen aflame with her frustration, fury, and—eventually—panic.” – Shirley Li, The Atlantic
“Diwan’s reflective, quiet tone only highlights the sheer dread of this situation, and shows that restriction and taboos about such issues only makes this world a more cruel and terrifying place. With Happening, Diwan has crafted a horror story that is becoming a haunting and very real possibility.” – Ross Bonaime, Collider
The film explores the life and music of Elvis Presley (Austin Butler), seen through the prism of his complicated relationship with his enigmatic manager, Colonel Tom Parker (Tom Hanks). The story delves into the complex dynamic between Presley and Parker spanning over 20 years, from Presley’s rise to fame to his unprecedented stardom, against the backdrop of the evolving cultural landscape and loss of innocence in America. Central to that journey is one of the most significant and influential people in Elvis’s life, Priscilla Presley (Olivia DeJonge).
RATED PG-13 FOR SUBSTANCE ABUSE, STRONG LANGUAGE, SUGGESTIVE MATERIAL, AND SMOKING.
“[A] riotously audacious work.” – Mark Kermode, The Observer
“For fans of Presley himself, this is the story you’ve been waiting for, and with ‘Unchained Melody’ in your head, you’ll leave the theatre with more respect for Presley, for those you love, and for anyone who has ever been burnt by the hand that should have shown them comfort.” – Ashley Marie, We Got This Covered
“It may not be slavishly devoted to the facts (this isn’t your typical birth-to-deather), but as with Todd Haynes’s glam fantasia Velvet Goldmine, the movie achieves something trickier and more valuable, mining shocking intimacy from sweeping cultural changes.” – Joshua Rothkopf, Entertainment Weekly
The story of Buzz Lightyear and his adventures to infinity and beyond.
RATED PG FOR ACTION / PERIL.
“This is a funny spinoff with suspense and heart, a captivatingly spirited toon take on splashy live-action retro popcorn entertainment. The title character is given splendid voice by Chris Evans, balancing heroism and human fallibility with infectious warmth.” – David Rooney, Hollywood Reporter
“Returning in Lightyear is the trademark Pixar sense of humor. Like every film, all jokes are meticulously crafted in a way that will make children laugh and adults laugh harder.” – Alan Ng, Film Threat
“Lightyear is a clever expansion of Pixar’s beloved Toy Story franchise – packed with fun moments, warm sentiment, and downright gorgeous animation.” – Ben Kendrick, Screen Rant
Where the Crawdads Sing
Kya is an abandoned girl who raised herself to adulthood in the dangerous marshlands of North Carolina. For years, rumors of the “Marsh Girl” haunted Barkley Cove, isolating the sharp and resilient Kya from her community. Drawn to two young men from town, Kya opens herself to a new and startling world; but when one of them is found dead, she is immediately cast by the community as the main suspect. As the case unfolds, the verdict as to what actually happened becomes increasingly unclear, threatening to reveal the many secrets that lay within the marsh.
RATED PG-13 FOR SEXUAL CONTENT AND SOME VIOLENCE INCLUDING A SEXUAL ASSAULT.
“Daisy Edgar-Jones is the star here and gives an incredibly endearing performance.” – Alan Ng, Film Threat
“The bluntness of its messaging proves to be a bit of a detraction, but the fact remains that Where the Crawdads Sing is a heartfelt, and gorgeous picture, the kind which major studios used to make all the time, and now feel like a bit of an endangered species.” – Liz Shannon Miller, Consequence
“Newman’s film gets enough right to be just as solid as a summer cinematic distraction as Owens’ book was as beachside literature. The atmosphere and beauty of the Carolina marshes are masterfully captured, and it bears repeating that Daisy Edgar-Jones is a magnetic leading presence, investing Kya with equal parts relatability and spiny distance for a character that seems to have leapt from the page, whole and vivid.” – Leigh Monson, AV Club
Speeding through the Moroccan desert to attend an old friend’s lavish weekend party, wealthy Londoners David and Jo Henninger (Ralph Fiennes and Jessica Chastain) are involved in a tragic accident with a local teenage boy. Arriving late at the grand villa with the debauched party raging, the couple attempts to cover up the incident with the collusion of the local police. But when the boy’s father arrives seeking justice, the stage is set for a tension-filled culture clash in which David and Jo must come to terms with their fateful act and its shattering consequences.
RATED R FOR LANGUAGE THROUGHOUT, DRUG USE, SOME SEXUAL CONTENT, AND BRIEF VIOLENCE.
“The Forgiven holds us in its grips until the very last frame.” – Richard Roeper, Chicago Sun-Times
“McDonagh’s sumptuous version of the novel —which premiered at TIFF last year — is utterly faithful and thus note perfect, capturing its resonant ruminations on social inequity, racism, and cultural tourism in a sweeping Moroccan desert Sheltering Sky novelist Paul Bowles would recognize.” – Kim Hughes, Original Cin
“Dark and unsettling, The Forgiven doesn’t ask us to like its characters, but it forces us to watch as privilege begins to shatter and people for whom everything feels inconsequential have to deal with consequences.” – Steve Pond, The Wrap
Father Brown: Season 9
The Cotswalds’ own charismatic clergyman sleuth is unusually busy with a new string of investigations, including a murder at Lady Felicia’s New Year Masked Ball. Could this be the last waltz for Father Brown?
RATED TV-PG. CONTAINS VIOLENCE, MILD LANGUAGE, SOME SEXUAL CONTENT, AND SMOKING.
“Perfect!” – Ed Power, The Telegraph
Cobra Kai: Season 4
The latest All Valley Tournament sees John Kreese (Martin Kove) and Terry Silver (Thomas Ian Griffith) teaming up against Daniel and Johnny’s dojo on the fourth season of the Karate Kid spin-off series.
RATED TV-14. CONTAINS LANGUAGE, VIOLENCE, SEXUAL REFERENCES, TEEN DRINKING, DRUG USE, AND SMOKING.
“Cobra Kai season four nicely continues the journeys of our favorite (and only) Valley karate fanatics, delivering fun along with impressively high kicks, moments of true emotion, and just enough stunted development to keep it all spinning.” – Cristina Escobar, AV Club
“There’s nothing quite as bonkers as Season 2’s high-school rumble (the Jets and Sharks have nothing on these warring dojos), but this fourth year is a glossier affair, capped with a show-stopping finale that somehow manages to raise the stakes yet again as it sets the scene for Season 5.” – James Dyer, Empire
The White Lotus: Season 1
The satirical limited series created by Mike White gradually reveals the truth behind the seemingly perfect guests and staff at an exclusive Hawaiian resort over the course of a week.
RATED TV-MA. CONTAINS STRONG LANGUAGE, SEXUAL CONTENT, GRAPHIC NUDITY, DRUG USE, THEMATIC MATERIAL, AND VIOLENCE.
“A mercilessly sharp satire of toxic wealth, entitlement and class exploitation with a truly radical, subversive tone that separates it from the crowd.” – Boyd Hilton, Empire
“Welcome to Upstairs, Downstairs, Aloha State edition. The series, called The White Lotus, named for the fictional resort where the action takes place, is a near-note-perfect tragicomedy… The actors are excellent across the board, but Bartlett, whose practiced amiability turns progressively feral throughout the series, is a revelation.” – Naomi Fry, The New Yorker
“White’s latest work is also an ensemble showcase with a handful of unforgettable performances — Bartlett and Jennifer Coolidge top among them — as well as a paradox unto itself, in that it’s extremely addictive and consistently uncomfortable. Conceived and shot during the pandemic, The White Lotus is many things, but it’s nothing short of a marvel.” – Ben Travers, IndieWire
Jim (Hero Fiennes Tiffin) is a senior in high school, experiencing the highs and lows of his first love with Ann (Sydney Park) as they navigate their pending departure to college. At the same time, Jim’s parents (Diane Kruger and Jeffrey Donovan) are dealing with the familial fallout of a financial crisis.
NOT RATED. CONTAINS LANGUAGE AND SEXUAL CONTENT, SOME INVOLVING TEENS.
“First Love is an earnest but unremarkable romance wrapped around an intelligent and sometimes powerful story of the destruction that capitalism inflicts on middle-class American families.” – Matt Zoller Seitz, RogerEbert.com
“…sigh-inducing… a memorable demonstration that unconditional love means being there when things aren’t going well — and exists even when someone is no longer in your life.” – Tara McNamara, Common Sense Media
We Don’t Deserve Dogs
A contemplative odyssey across our planet, looking at the simple and extraordinary ways that dogs influence our daily lives.
“[A] heartfelt paean to the connection mankind shares with its four-legged friends. To my mind, the titular assertion is an accurate one – we DON’T deserve dogs… if you’re of a similar mindset, then you are absolutely the target audience for this film.” – Allen Adams, Maine Edge
“It’s wildly successful, even if it turns out to be a different experience than you’d initially expect.” – Joey Magidson, Awards Radar
“The filmmakers’ dogged determination to showcase man’s best friend as mankind’s savior pays off as an essential experience.” – Courtney Howard, AwardsCircuit.com
Ben Manalowitz, a journalist and podcaster from New York City, travels to West Texas to investigate the death of a girl he was hooking up with.
RATED R FOR LANGUAGE AND BRIEF VIOLENCE.
“It’s a detective story. It’s an insightful commentary on the state of us, which is to say us, the U.S., in this divided, disjointed, distracted age. It’s a comedy, sharp and frequently hilarious. It is, above all, consistently surprising.” – Soren Andersen, Seattle Times
“In Vengeance, B.J. Novak proves a born storyteller with the rare gift of using a film to say something that intoxicates us.” – Owen Gleiberman, Variety
“In Vengeance, Novak sets his sights on lampooning the big-city media types who go chasing stories in middle America and return with observations from the ‘flyover states’ that are usually condescending, preachy, or inauthentic, and in doing so, he finds the humor, and something honest too.” – Katie Walsh, Los Angeles Times
Lucien de Rubempré (Benjamin Voisin) is an ambitious and unknown aspiring poet in 19th century France. He leaves his provincial town, arriving in Paris on the arm of his admirer, Louise de Bargeton (Cécile de France). Outmatched in elite circles, Lucien’s naive etiquette prompts Louise to retreat back to her husband, leaving the young poet to forge a new path. Lucien makes a new friend in another young writer, Etienne Lousteau (Vincent Lacoste), who introduces him to the business of journalism where a salon of wordsmiths and wunderkinds make or break the reputations of actors and artists with insouciant impunity. Lucien agrees to write rave reviews for bribes, achieving material success at the expense of his conscience and soon discovers that the written word can be an instrument of both beauty and deceit. Xavier Giannoli’s sumptuous adaptation of Honoré de Balzac’s epic novel, Lost Illusions is a ravishing vision of the birth of modern media.
NOT RATED. CONTAINS GRAPHIC NUDITY, SEXUAL MATERIAL, AND LANGUAGE.
“Lost Illusions is sumptuous yet piercing, an expertly plotted social-relations saga of the kind that once typified prestige Hollywood cinema, and it dives into moral quandaries rather than dispensing easy bromides.” – Kyle Smith, Wall Street Journal
“This sweeping period drama may be up to its eyeballs in costumes and carriages, but it plays with all the brio and jeopardy of a modern-day gangster movie, featuring hack journalists as its antiheroes.” – Peter Debruge, Variety
“Giannoli illuminates the dank frenzy of the 19th-century attention economy with an eye on our own post-truth era. Lost Illusions is sensational. Nobody paid me to say that. Well, actually, The New York Times did, but you should believe me anyway.” – A.O. Scott, New York Times
In the cold winter of 1918, Tomás, a young man who works doing post-mortem photography, ends up in a small Hungarian village. The strange nocturnal sounds, the hostility, the mysterious deaths and the somber figures that appear in his photographs all urge him to leave as soon as possible. But Tomás returns to the village to investigate the ghosts’ intentions and find a way to get rid of them.
NOT RATED. CONTAINS LANGUAGE, VIOLENCE, AND THEMATIC MATERIAL.
“With elements of folk horror and a black sense of humour, Post Mortem is one of those films that is a joy to stumble across.” – Martin Unsworth, Starburst
“Post Mortem rises above its modest budget, looking super expensive. It also manages to be the most inventive version of spooks on screen in years, providing an unexpected amount of fun for the piece.” – Kat Hughes, THN
“If Bergendy isn’t above throwing in the odd cheap jump scare, the film’s best moments rely more on phantasmagorical imagery and unsettling, surrealistic sequences.” – Martyn Conterio, CineVue
Frank (Bruce Willis), a former police chief of a small town, finds himself being hunted down by a meth kingpin seeking to silence him before he can deliver eyewitness testimony against his family, but ultimately finds himself up against more than he bargained for when he threatens to harm Frank’s daughter (Ashley Greene).
NOT RATED. CONTAINS STRONG LANGUAGE THROUGHOUT AND VIOLENCE.
Thor: Love and Thunder
Thor (Chris Hemsworth) is on a journey unlike anything he’s ever faced – a quest for inner peace. But his retirement is interrupted by a galactic killer known as Gorr the God Butcher (Christian Bale), who seeks the extinction of the gods. To combat the threat, Thor enlists the help of King Valkyrie (Tessa Thompson), Korg (Taika Waititi) and ex-girlfriend Jane Foster (Natalie Portman), who – to Thor’s surprise – inexplicably wields his magical hammer, Mjolnir, as the Mighty Thor. Together, they embark upon a harrowing cosmic adventure to uncover the mystery of the God Butcher’s vengeance and stop him before it’s too late.
RATED PG-13 FOR INTENSE SEQUENCES OF SCI-FI VIOLENCE AND ACTION, LANGUAGE, SOME SUGGESTIVE MATERIAL, AND PARTIAL NUDITY.
“I never once rolled my eyes at a joke that was clearly dropped in, so it could be a zinger and make it to the trailer. It successfully silenced a rather jaded MCU fan by offering a story that had it all without having to sacrifice its soul to the MCU machine that is eager to churn out stories for future phases.” – Therese Lacson, Collider
“It’s the mix of tones — the cheeky and the deadly, the flip and the romantic — that elevates Thor: Love and Thunder by keeping it not just brashly unpredictable but emotionally alive.” – Owen Gleiberman, Variety
“Weirder than Ragnarok, but incredibly sincere in its outlook, Taika’s Thor-quel is a big, beautiful blast. You’ll love it, and probably thunder it too. What a classic Thor adventure!” – Ben Travis, Empire
Sound of Metal
During a series of adrenaline-fueled one-night gigs, itinerant punk-metal drummer Ruben (Riz Ahmed) begins to experience intermittent hearing loss. When a specialist tells him his condition will rapidly worsen, he thinks his music career — and with it his life — is over. His bandmate and girlfriend Lou (Olivia Cooke) checks the recovering heroin addict into a secluded sober house for the deaf in hopes it will prevent a relapse and help him learn to adapt to his new situation. But after being welcomed into a community that accepts him just as he is, Ruben has to choose between his equilibrium and the drive to reclaim the life he once knew.
RATED R FOR LANGUAGE THROUGHOUT AND BRIEF NUDE IMAGES.
“Riz Ahmed gives an absolutely incredible performance…” – Sean Farrell, AFPL Journal
“A small film that hits big, Sound Of Metal is a gem you’ll want to bang the drum for.” – Matt Maytum, Total Film
“This is a very personal story to Marder and it shows in the intricate ways he uses sound to place us within Ruben’s plight.” – Jared Mobarak, The Film Stage
From Rob Zombie comes the strangest love story ever told as Herman and Lily’s crazy courtship takes the Munsters on a hauntingly hilarious trip from Transylvania to Hollywood in the all-new feature length film.
RATED PG FOR MACABRE AND SUGGESTIVE MATERIAL, SCARY IMAGES, AND LANGUAGE.
The Dude in Me
Jang Pan Su is a gang leader, and in a position of very high power. Kim Dong Hyeon is a high school student who gets bullied. When Kim Dong Hyeon gets into an accident with Jang Pan Su, they wake up in hospital to find out that their bodies have swapped.
NOT RATED. CONTAINS LANGUAGE, ACTION VIOLENCE, AND TEEN DRINKING.
“Stuffed with action, romance, humour and heart, The Dude in Me is not your run-of-the-mill body-swap comedy.” – James Marsh, South China Morning Post
Vinnie Jones plays Temple, a sadistic mob boss, in this gritty, white-knuckle action ride. After stealing millions in cash from Temple’s drug-dealing hideout, the Thief finds a stowaway in his getaway car – Temple’s pregnant wife, Mia! Desperate to reclaim his cash – and his unborn son – Temple sends out a squad of hit men and bounty hunters to bring in Mia and the Thief. Speed, cleverness, and good aim give the duo a brief advantage, but how long will their luck hold out?
RATED R FOR VIOLENCE.
“Bullet Proof has entertainment value as a check your brain at the door actioner. It gets adrenaline pumping with non-stop chases, gunplay, and whiplash camera work. Vinnie Jones takes scowling to new heights as he pummels lackeys to a pulp.” – Julian Roman, MovieWeb