Top Gun: Maverick
After more than thirty years of service as one of the Navy’s top aviators, Pete “Maverick” Mitchell (Tom Cruise) is where he belongs, pushing the envelope as a courageous test pilot and dodging the advancement in rank that would ground him. When he finds himself training a detachment of Top Gun graduates for a specialized mission the likes of which no living pilot has ever seen, Maverick encounters Lt. Bradley Bradshaw (Miles Teller), call sign: “Rooster,” the son of Maverick’s late friend and Radar Intercept Officer Lt. Nick Bradshaw, aka “Goose”. Facing an uncertain future and confronting the ghosts of his past, Maverick is drawn into a confrontation with his own deepest fears, culminating in a mission that demands the ultimate sacrifice from those who will be chosen to fly it.
RATED PG-13 FOR SEQUENCES OF INTENSE ACTION, AND SOME STRONG LANGUAGE.
“[Takes] the action to breathtaking new heights… a nice change of pace and a satisfying trip down memory lane.” – Sean Farrell, AFPL Journal
“A summer blockbuster of the old school, with rust-bucket F-14s duking it out with young pups in F-18s, all shot on celluloid rather than sketched in by computers, at the behest of a star who refuses to quit.” – Tom Shone, The Times
“Top Gun: Maverick represents the best of what blockbuster filmmaking can be, brilliantly blending spectacle with sentiment to exhilarating effect.” – Zoë Rose Bryant, Loud and Clear Reviews
Honk for Jesus. Save Your Soul.
Honk for Jesus. Save Your Soul. is a satirical comedy starring Regina Hall as Trinitie Childs — the proud first lady of a Southern Baptist megachurch, who together with her husband, Pastor Lee-Curtis Childs (Sterling K. Brown), once served a congregation in the tens of thousands. But after a scandal forces their church to temporarily close, Trinitie and Lee-Curtis must reopen their church and rebuild their congregation to make the biggest comeback that commodified religion has ever seen.
RATED R FOR LANGUAGE AND SOME SEXUAL CONTENT.
“Sterling K. Brown and Regina Hall give wonderfully complex performances as a disgraced Christian power couple trying to salvage what remains of their spiritual empire.” – Justin Chang, NPR
“Honk for Jesus. Save Your Soul. is very funny, but it’s also fearlessly confident in its stance on hypocrisy, refusing to buckle or compromise. And yet it’s not so dark that we don’t find humanity in its two main characters.” – Jeffrey M. Anderson, Combustible Celluloid
“Driven by deeply felt performances, this sharply observed satire captures the complex relationship between pastors, parishioners, and their higher power with an authenticity that facilitates its playful tweaking.” – Todd Jorgenson, Cinemalogue
Euphoria: Seasons 1 & 2
An American adaptation of the Israeli show of the same name, “Euphoria” follows the troubled life of 17-year-old Rue, a drug addict fresh from rehab with no plans to stay clean. Circling in Rue’s orbit are Jules, a transgender girl searching for where she belongs; Nate, a jock whose anger issues mask sexual insecurities; Chris, a football star who finds the adjustment from high school to college harder than expected; Cassie, whose sexual history continues to dog her; and Kat, a body-conscious teen exploring her sexuality. As the classmates struggle to make sense of their futures, the series tackles the teenage landscape of substance-enhanced parties and anxiety-ridden day-to-day life with empathy and candor.
RATED TV-MA. CONTAINS PERVASIVE LANGUAGE, GRAPHIC NUDITY, STRONG SEXUAL CONTENT, VIOLENCE, THEMATIC MATERIAL, DRUG USE, AND SMOKING, ALL INVOLVING TEENS.
“It’s going to become a TV landmark.” – Adam Sweeting, The Arts Desk
“Euphoria unflinchingly uncovers the terrors thrust upon today’s teens with raw realism, requiring its audience’s rapt attention (just as Zendaya’s livewire lead performance does).” – Zoë Rose Bryant, Loud and Clear Reviews
“It’s an almost entirely character-driven series but that makes it no less thrilling, and it’s only graphic because it needs to be.” – Patrick Sproull, Den of Geek
One Way
No wrong turn goes unpunished in this wildly entertaining action-packed thrill ride starring Colson Baker, Travis Fimmel, and Kevin Bacon. After stealing from the biggest mob boss in town, Freddy (Baker) is badly wounded and on the run with a one way ticket to salvage what is left of his crime-ridden life, for one last shot at redemption with his family.
RATED R FOR PERVASIVE LANGUAGE, VIOLENCE, AND DRUG USE.
“Machine Gun Kelly respectably carries crime thriller One Way with the help of a fine supporting cast and a clever screenplay.” – James Verniere, Boston Herald
“It may sound highfalutin to say that it’s almost Steinbeckian in its portrayal of the transitory American working class, but One Way has the grit and grim of old fashioned Americana.” – Niall Browne, Movies in Focus
“This is a highly entertaining, slick piece of film-making. It’s great to see Irish talent working on such a big scale with such big names. Well worth seeking out.” – David Prendeville, Film Ireland
The Power of the Dog
Severe, pale-eyed, handsome, Phil Burbank is brutally beguiling. All of Phil’s romance, power and fragility is trapped in the past and in the land: He can castrate a bull calf with two swift slashes of his knife; he swims naked in the river, smearing his body with mud. He is a cowboy as raw as his hides.
The year is 1925. The Burbank brothers are wealthy ranchers in Montana. At the Red Mill restaurant on their way to market, the brothers meet Rose, the widowed proprietress, and her impressionable son Peter. Phil behaves so cruelly he drives them both to tears, reveling in their hurt and rousing his fellow cowhands to laughter — all except his brother George, who comforts Rose then returns to marry her. As Phil swings between fury and cunning, his taunting of Rose takes an eerie form — he hovers at the edges of her vision, whistling a tune she can no longer play. His mockery of her son is more overt, amplified by the cheering of Phil’s cowhand disciples. Then Phil appears to take the boy under his wing. Is this latest gesture a softening that leaves Phil exposed, or a plot twisting further into menace?
RATED R FOR BRIEF SEXUAL CONTENT / FULL NUDITY.
“Benedict Cumberbatch delivers a pitch-perfect performance, ably portraying the internal torment of a character who suppresses his true self by acting cruelly to others… This is a slow-burn masterwork that will leave viewers with a lot to ponder.” – Sean Farrell, AFPL Journal
“Jane Campion turns Thomas Savage’s semi-autobiographical novel into pure film poetry. The film is more essay than script and is an amazing thesis on the limitations of power as defined by the masculine vocabulary.” – Alachia Queen, Alachia Queen
“The Power of the Dog is meticulously crafted and wonderfully executed… Campion’s film is both resplendent and morose. The Power of the Dog is a towering achievement, and the finest work of both Campion and Cumberbatch’s careers.” – Mark Johnson, Awards Daily
Quintessentially British
A love letter to all things great and British from their castles, theater, aristocrats and classic cars to quirky traditions and self-deprecating sense of humor. Did you know that the Queen’s Buckingham Palace isn’t even the largest in England or that the Mad Hatter from Alice in Wonderland is based on a real person? There’s so much to discover. Welcome to being Quintessentially British.
NOT RATED. CONTAINS INFREQUENT RUDE GESTURES.
“Like an even more deeply researched episode of the original UK Antiques Roadshow.” – Tom Cogshell, FilmWeek
“This made me feel smarter and more sophisticated for having watched it.” – Wade Major, FilmWeek
Piggy
With the summer sun beating down on her rural Spanish town, Sara hides away in her parent’s butcher shop. A teenager whose excess weight makes her the target of incessant bullying, she flees a clique of capricious girls who torment her at the town pool, only to stumble upon them being brutally kidnapped by a stranger, who drives off with them in his van. When the police begin asking questions, Sara keeps quiet. Intrigued by the stranger — an interest that’s mutual — she’s torn between revealing the truth and protecting the man who saved her.
NOT RATED. CONTAINS STRONG BLOODY VIOLENCE, SEXUAL CONTENT, THEMATIC MATERIAL, ABHERRANT BEHAVIOR, STRONG LANGUAGE, AND DRUG USE.
“A masterful mix of dark comedy, social commentary and raw suspense.” – Noel Murray, Los Angeles Times
“Desperation can make anyone kind. That’s one takeaway from Piggy. Another is that Galán is an actor worth keeping an eye on, a very canny choice for a movie so poised to walk tonal tightropes, drifting between misery and humor, shame and shamelessness.” – K. Austin Collins, Rolling Stone
“Part coming-of-age romance, part psychological body horror, Piggy firmly establishes Pereda as a bold new voice in feminist horror.” – Jude Dry, IndieWire
Language Lessons
When Adam’s (Mark Duplass) husband surprises him with weekly Spanish lessons, he’s unsure about where or how this new element will fit into his already structured life. But when tragedy strikes, his Spanish teacher, Cariño (Natalie Morales), becomes a lifeline he didn’t know he needed. Adam develops an unexpected and complicated emotional bond with Cariño–but do you really know someone just because you’ve experienced a traumatic moment with them? Bittersweet, honest, and at times darkly funny, Language Lessons is a disarmingly moving exploration of platonic love.
NOT RATED. CONTAINS STRONG LANGUAGE, RUDE HUMOR, AND THEMATIC MATERIAL.
“Essential viewing, a miniature masterpiece of humanism that beautifully distills a whole year’s worth of love, loss, introspection, and empathy into an hour and a half. It’s impossible not to fall in love with it.” – Dan Bayer, Next Best Picture
“Rather than getting bogged down in grim realities, Morales and Duplass have crafted a sweet ode to the benefits of connectivity and the joy of friendship.” – Calum Baker, Radio Times
“This is Morales’ debut movie and if her follow up Plan B is anything as good, then there is a bright future for her behind the camera as well as in front of it.” – Daryl MacDonald, Film Inquiry
After Ever Happy
The fourth film of the After franchise finds Tessa and Hardin at a crossroads: Does Tessa continue trying to save him and their relationship, or is it time to save herself? While Hardin remains in London after his mother’s wedding and sinks deeper into darkness, Tessa returns to Seattle and endures a tragedy. If they want their love to survive, they’ll need to work on themselves first. But will their paths lead them back to each other?
RATED R FOR LANGUAGE THROUGHOUT, SOME SEXUAL CONTENT, AND BRIEF DRUG MATERIAL.
A Discovery of Witches: Season 3
In season 3, the final season, Matthew and Diana return from their trip to 1590 to find tragedy at Sept-Tours. They must find the missing pages from the Book of Life and the Book itself before it’s too late. Their enemies are gearing up against them, and a monster from Matthew’s past who has been lying in wait will return for revenge.
RATED TV-MA. CONTAINS GRAPHIC VIOLENCE, SEXUAL CONTENT, AND STRONG LANGUAGE.
“A Discovery of Witches is an ideal moody, romantic show to catch up on in the coldness of wintertime.” – Claire Di Maio, The Young Folks
“Overall, this third and final series will deliver what fans have been waiting for. By the time the credits rolls there’ll be smiles on faces — and possibly a few tears — with all the loose ends neatly wrapped up.” – Huw Fullerton, Radio Times
I Love My Dad
Inspired by James Morosini’s true life experience, I Love My Dad follows Chuck (Patton Oswalt), an estranged father who desperately wants to reconnect with his troubled son, Franklin (Morosini). Blocked on social media and concerned for his son’s life, Chuck impersonates a waitress online and starts checking in with Franklin. But things begin to spiral when Franklin falls for this imaginary girl (Claudia Sulewski) and wants nothing more than to meet her in person, as Chuck has inadvertently catfished his own son.
RATED R FOR SEXUAL CONTENT AND LANGUAGE.
“It’s a strong showcase for Oswalt’s talents, going full pathetic odiousness in a way which is consistently entertaining to watch.” – Callie Petch, Little White Lies
“Very funny, psychologically fascinating (and also very icky) black cringe comedy.” – Peter Canvese, Celluloid Dreams
“Morosini isn’t out to settle scores with I Love My Dad… he’s interested in something bigger, having to do with self-deception, the limits of love and the peculiar individual hells we manage to reach by way of our best intentions.” – Ann Hornaday, Washington Post
Pearl
Filmmaker Ti West returns with another chapter from the twisted world of X, in this astonishing follow-up to the year’s most acclaimed horror film. Trapped on her family’s isolated farm, Pearl must tend to her ailing father under the bitter and overbearing watch of her devout mother. Lusting for a glamorous life like she’s seen in the movies, Pearl finds her ambitions, temptations, and repressions all colliding in this stunning, technicolor-inspired origin story of X‘s iconic villain.
RATED R FOR SOME STRONG VIOLENCE, GORE, STRONG SEXUAL CONTENT AND GRAPHIC NUDITY.
“This was pretty great. Like that last shot, it’s going to linger. How could it not?” – Cory Woodroof, 615 Film
“Between Tyler Bates’ vintage-inspired score, West’s clever cinematography, and Goth’s staggering performance, Pearl is a gripping character drama disguised as a horror movie, and a compelling prequel that strengthens an already-impressive story.” – Lauren Coates, Culturess
“West’s bold, stylish direction and brilliant use of color and shadow push Pearl into a whole different level of horror. Goth carries the picture with a bit of acting that is subtle and over-the-top at the same time.” – Bobby LePire, Film Threat
Three Thousand Years of Longing
Dr. Alithea Binnie (Tilda Swinton) is an academic — content with life and a creature of reason. While in Istanbul attending a conference, she happens to encounter a Djinn (Idris Elba) who offers her three wishes in exchange for his freedom. This presents two problems. First, she doubts that he is real and second, because she is a scholar of story and mythology, she knows all the cautionary tales of wishes gone wrong. The Djinn pleads his case by telling her fantastical stories of his past. Eventually she is beguiled and makes a wish that surprises them both.
RATED R FOR SOME SEXUAL CONTENT, GRAPHIC NUDITY, AND BRIEF VIOLENCE.
“A feast for the head and the heart and the eyes.” – Scott Tobias, The Reveal
“At the heart of this romantically grand ‘chamber piec’ is a passionate declaration, and as well a sincere defense, of the innate human desire for fantasy.” – Isaac Feldberg, Inverse
“Elba is great as the hopelessly romantic immortal. Swinton’s even better as the no-nonsense human hiding a tender core.” – Charlotte O’Sullivan, Evening Standard
Moonage Daydream
A cinematic odyssey exploring Bowie’s creative, spiritual and musical journey. From the visionary mind of Brett Morgen, Moonage Daydream features captivating, never-before-seen footage and performances spanning David Bowie’s 54-year career. The film includes 40 exclusively remastered Bowie songs and is the first film ever sanctioned by the Bowie Estate, with local access to the artists’ archives.
RATED PG-13 FOR SOME SEXUAL IMAGES / NUDITY, BRIEF STRONG LANGUAGE, AND SMOKING.
“Bowie is the man who sold the world on radical individuality in its rock stars — and even for the casual Bowie observer, Moonage Daydream sells us on appreciating a too-short life, lived to the hilt.” – Bill Newcott, The Saturday Evening Post
“Ground control to major masterpiece: Moonage Daydream, Brett Morgen’s kaleidoscopic collage-style documentary about the one and only David Bowie, really makes the grade.” – Sarah Ward, Concrete Playground
“Moonage Daydream is the story of a life, but it’s also a grippingly effective portrait of creative restlessness, and anyone who has ever pursued a muse of their own will likely be moved to tears.” – Oscar Goff, Boston Hassle
True Things
Bored by the daily tedium of her office job, Kate (Ruth Wilson) is sleepwalking through life when a chance sexual encounter with a charismatic stranger (Tom Burke) awakens her. High on infatuation and the exhilaration of this new relationship, she finds herself inexplicably drawn to this mysterious new man. Hoping he will provide the escape she so desperately desires, she embarks on an emotionally dangerous journey that slowly begins to consume her.
NOT RATED. CONTAINS STRONG SEXUAL CONTENT, NUDITY, STRONG LANGUAGE THROUGHOUT, AND DRUG USE.
“A raw, visceral portrayal of one woman’s journey into something which might be madness and might be a first step towards liberation…” – Jennie Kermode, Eye for Film
“Harry Wootliff’s True Things is an utterly engrossing exploration of relationships, sex and loneliness.” – Natasha Alvar, Cultured Vultures
“For those of you who miss films made by adults and for adults, films which treat things like sex and loneliness with respect and honesty, True Things isn’t to be missed.” – Sheila O’Malley, RogerEbert.com
Halo: Season 1
Master Chief, a cybernetically enhanced super-soldier, defends humanity from the alien Covenant in the 26th century.
RATED TV-14. CONTAINS GRAPHIC VIOLENCE, LANGUAGE, BRIEF NUDITY, AND DRUG USE.
“Better than its detractors suggest without ever being quite as good as it should be, Halo succeeds as a TV show thanks in large part to its perfectly cast leading man and first-rate production values.” – Leon Miller, Cultured Vultures
“Halo has had a bumpy road to the screen, but fans new and old alike should be more than entertained by the explorations of Master Chief and his evolving world.” – Aaron Peterson, The Hollywood Outsider
“With gorgeous production design, impressive visuals and thrilling action — not to mention a solid cast and a healthy respect for its roots as one of the most successful video game franchises in history — Halo is off to a very auspicious beginning.” – Brent Hankins, The Lamplight Review
Neptune Frost
In an otherworldly e-waste camp made of recycled computer parts, a subversive hacking collective attempts a takeover of the authoritarian regime exploiting the region’s natural resources–and its people. When an intersex runaway (Neptune, played by both Elvis Ngabo and Cheryl Isheja) and an escaped coltan miner (Matalusa, played by Kaya Free) find each other through cosmic forces, their connection sparks glitches within the greater divine circuitry. With hypnotic visuals and original songs composed by musician and co-director Saul Williams, this celestial cyber-musical offers a radically bold vision of power, exploitation, and love.
NOT RATED. CONTAINS STRONG LANGUAGE, MILD VIOLENCE, BRIEF NUDITY, AND THEMATIC MATERIAL.
“The film is a critique of the capitalist ravages visited on Burundi and its neighbors by a technology-obsessed society. It’s also a soaring, poetic vision of a transformative future, filled with abstract scenes of singing and partying.” – David Sims, The Atlantic
“Neptune Frost knows exactly what kind of movie it wants to be, follows its own path, makes its own music, and hits every note along the way.” – Alexander Miller, Film Inquiry
“It is difficult to summarize what happens, and that is on purpose. Perhaps plot would get in the way of mood and immersion. What it offers instead is undiluted spectacle, an Afrofuturist musical fantasia with a markedly anti-capitalist point of view.” – Alan Zilberman, Washington City Paper
Both Sides of the Blade
Juliette Binoche is Sara, a woman whose life spirals out of control when she becomes involved in a passionate love triangle. From acclaimed writer-director Claire Denis.
NOT RATED. CONTAINS STRONG SEXUAL CONTENT, NUDITY, STRONG LANGUAGE, AND THEMATIC MATERIAL.
“A film to ponder, argue over and, in the end, weep salt tears over.” – David Jenkins, Little White Lies
“Binoche… is the big draw here, brilliantly at home with a lost and conflicted character whose façade of assuredness is succumbing to feelings she is not entirely in control of.” – Hilary A. White, Sunday Independent
“Denis treats her protagonists with exceptional affection, we don’t judge her, we simply accompany her in her journey, and similarly, the film doesn’t shy away from the humor that stems out of her contained fury and passions.” – Sofía Alvarez Salas, Cineencuentro
The Good House
The Good House follows Hildy Good (Sigourney Weaver), a wry New England realtor and descendant of the Salem witches, who loves her wine and her secrets. Her compartmentalized life begins to unravel as she rekindles a romance with her old high-school flame, Frank Getchell (Kevin Kline), and becomes dangerously entwined in one person’s reckless behavior. Igniting long-buried emotions and family secrets, Hildy is propelled toward a reckoning with the one person she’s been avoiding for decades: herself.
RATED R FOR BRIEF SEXUALITY AND LANGUAGE.
“Sigourney Weaver is terrific, handling the role with aplomb. It’s a delicate balancing act with the shift from light comedy to weighty material. Seeing her reunite with Kline after two decades is itself worth the price of admission.” – Joe Friar, Fort Worth Report
“The Good House is a movie that many will skip over but should spend the time with as it is just as engaging a portrait of New England life as Manchester by the Sea and every bit a showcase for the one and only Sigourney Weaver.” – Alex Maidy, JoBlo’s Movie Network
“Sigourney Weaver deserves awards attention for turning what could have been a cliched dramedy about a real-estate agent, who’s a functioning alcoholic, into something funny, touching and vital. And cheers to Kevin Kline as the dazed dude who loves her.” – Peter Travers, ABC News
Mondocane
In the not-too-distant future on Italy’s southern coast, the city of Taranto has become a toxic wasteland ruled by warring gangs and surrounded by barbed wire, where best friends Pietro (nicknamed Mondocane) and Cristian (nicknamed Pisspants) dream of escaping their hardscrabble existence for a better life in nearby New Taranto. Opportunity knocks when Hothead, the charismatic and dangerous leader of a local gang called the Ants, recruits the two boys and gives them everything they fantasized about: money in their pockets, a family, and a father figure. The friendship begins to splinter, though, as Cristian displays a surprising talent for mayhem and quickly rises through the ranks. With a new female friend pushing them further apart, an obsessed cop hounding the gang, and Hothead becoming increasingly unhinged, the boys barrel toward a confrontation that will determine if their bond is strong enough to survive.
NOT RATED. CONTAINS VIOLENCE AND STRONG LANGUAGE THROUGHOUT.
“Brilliantly played, Testacaldo is one of the most interesting antagonists to emerge from Italian cinema for years.” – Jennie Kermode, Eye for Film
“Mondocane is the finest Italian post-apocalypse movie ever made.” – Michael Talbot-Haynes, Film Threat
“It turns out there’s something even more dystopian than a post-apocalyptic hellscape, and that’s a story about societal collapse in a world that hasn’t even ended yet.” – A.C. Koch, Spectrum Culture
Fire in the Mountains
A mother toils to save money to build a road in a mountainous Himalayan village to take her son to physiotherapy. Yet her husband, who believes that a shamanic ritual is the remedy, stands in her way.
NOT RATED. CONTAINS DISTURBING AND THEMATIC MATERIAL.
“Its criticisms of patriarchal authority, bureaucratic corruption and superstition in rural India are sharp and unsparing, but its political themes are embedded in a humanism that is at once expansive and specific.” – A.O. Scott, New York Times
“The heavily personal first-time feature from writer and director Ajitpal Singh is often emotionally harrowing, vividly striking, increasingly hard to watch, and leaves a hell of an impression.” – Robert Kojder, Flickering Myth
“Through the snapshot of one family, struggling to stay afloat, director Ajitpal Singh constructs a strident critique of globalized India…” – Anupama Chopra, Film Companion
Hatching
In Hatching, 12-year-old gymnast, Tinja (Siiri Solalinna), is desperate to please her image-obsessed mother, whose popular blog Lovely Everyday Life presents their family’s idyllic existence as manicured suburban perfection. One day, after finding a wounded bird in the woods, Tinja brings its strange egg home, nestles it in her bed, and nurtures it until it hatches. The creature that emerges becomes her closest friend and a living nightmare, plunging Tinja beneath the impeccable veneer into a twisted reality that her mother refuses to see.
NOT RATED. CONTAINS VIOLENCE, DISTURBING IMAGERY, AND THEMATIC MATERIAL.
“Thought-provoking, powerful and visceral – this film is a must-see.” – James Perkins, Starburst
“Blackly comical touches combine with underlying emotions to pull the audience in, as director Hanna Bergholm draws out important themes and thoroughly freaks out the audience.” – Rich Cline, Shadows on the Wall
“This is a spooky, unsettling Finnish horror movie that also comments on the facades lurking beneath appearances, particularly appearances in suburbia.” – Brian Costello, Common Sense Media
Peacemaker: Season 1
John Cena make his debut as Peacemaker in James Gunn’s The Suicide Squad – and now he’s back with his own show set within the DC Extended Universe (DCEU). Having recovered from his injuries, Christopher Smith a.k.a. Peacemaker joins the A.R.G.U.S. black ops squad. The team is tasked with hunting down a parasite in ‘Project Butterfly’.
RATED TV-MA. CONTAINS GRAPHIC VIOLENCE, PERVASIVE LANGUAGE, GRAPHIC NUDITY, STRONG SEXUAL CONTENT, CRUDE HUMOR, AND DRUG USE.
“Gunn scores a bullseye with this series, blending vulgarity, heart and sheer insanity for a winning, killer combo – not to mention, an unskippable opening-credits sequence that you’ll never grow tired of watching.” – James White, Empire
“Luckily for DC, what sets Peacemaker apart is that it’s actually a good deal better than many of its MCU counterparts. Across eight excellent episodes, Gunn’s show is an absolute treat.” – Matthew Taylor, Starburst
“Anchored by a winningly charismatic turn from John Cena, Peacemaker shows that Gunn can flesh out a previously monotonal character and make him sympathetic, without sacrificing the silliness and subversiveness that most of us love him for.” – Steve O’Brien, SciFiNow
Emily the Criminal
Emily (Aubrey Plaza) is saddled with student debt and locked out of the job market due to a minor criminal record. Desperate for income, she takes a shady gig as a “dummy shopper,” buying goods with stolen credit cards supplied by a handsome and charismatic middleman named Youcef (Theo Rossi). Faced with a series of dead-end job interviews, Emily soon finds herself seduced by the quick cash and illicit thrills of black-market capitalism, and increasingly interested in her mentor Youcef. Together, they hatch a plan to bring their business to the next level in Los Angeles.
RATED R FOR LANGUAGE, SOME VIOLENCE, AND BRIEF DRUG USE.
“Through the conventions of a tidy and efficient little thriller, Emily the Criminal paints a bleak picture of a generation that’s entering adulthood with few avenues to prosperity.” – Scott Tobias, The Reveal
“Plaza disappears into her role, resulting in a career-best performance and one of 2022’s most captivating screen characters.” – Brian Eggert, Deep Focus Review
“It’s energizing to see something as keenly observed and uniquely competent as Emily the Criminal. It’s a tense and engaging thriller that looks and feels distinctively different.” – Rex Reed, Observer
the silliness and subversiveness that most of us love him for.” – Steve O’Brien, SciFiNow
The Flight Attendant
A reckless flight attendant with an alcoholism problem wakes up in the wrong hotel, in the wrong bed, with a dead man – and no idea what happened. Unable to piece the night together, she begins to wonder if she could be the killer.
RATED TV-MA. CONTAINS PERVASIVE LANGUAGE, SEXUAL MATERIAL, VIOLENCE, AND THEMATIC MATERIAL.
“Twisted and clever and truly suspenseful.” – Diane Pershing, Malibu Times
“The Flight Attendant is a slick, stylish, pitch black comedy that hooks you early and has more than enough intrigue and mystery in its eight-parts to ensure its binge worthiness.” – James Croot, Stuff
“Prestige TV has started taking itself ponderously seriously, but The Flight Attendant does precisely the opposite and is all the more enjoyable for it. Expertly teetering between black comedy and pulpy thriller, this is a hell of a ride.” – Katie Rosseinsky, Evening Standard
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