Amsterdam
In 1930s Amsterdam, three close friends find themselves at the center of one of the most shocking secret plots in American history.
RATED R FOR BRIEF VIOLENCE, AND BLOODY IMAGES.
“Amsterdam goes from wacky farce to preachy allegory before finally coming to rest as a sneakily profound riff on finding personal edification, just when it matters.” – Vince Mancini, Uproxx
“It’s not a naive film, but rather a hopeful one. Despite a world where darkness lurks, there’s light at the end of this tunnel.” – James Mottram, NME
“Russell does more than fill the film with its high-wattage parade of stars, who energize the proceedings from beginning to end. He creates vivid and forceful characters—slightly heightened caricatures whose unnaturally emphatic presences befit the air of serendipity that gives history the oddball heroes it needs, and that gives them the happy ending they deserve.” – Richard Brody, The New Yorker
Clerks III
Following a massive heart attack, Randal enlists his friends and fellow clerks Dante, Elias, Jay, and Silent Bob to make a movie immortalizing his life at the convenience store that started it all.
RATED R FOR PERVASIVE LANGUAGE, CRUDE SEXUAL MATERIAL, AND DRUG CONTENT.
“In Clerks III, Smith returns to where his career began and has made one of his best films in decades, a tender and compassionate look at friendships that last no matter what, a remembrance of where Smith came from, and an appreciation for all those who helped him along the way.” – Ross Bonaime, Collider
“Clerks III is the director at his most mature and emotionally resonant.” – Danielle Ryan, /Film
“Clerks III is a darkly funny, bittersweet curtain call for some undeniably enduring characters we first met back in 1994 whn Smith famously turned an investment of $27,575 into a black-and-white indie breakthrough hit and then revisited in the 2006 sequel.” – Richard Roeper, Chicago Sun-Times
Better Call Saul: Season 6
The sixth and final season of the Breaking Bad spin-off.
RATED TV-MA. CONTAINS STRONG BLOODY VIOLENCE, STRONG LANGUAGE, SEXUAL CONTENT, AND DRUG USE.
“Better Call Saul has arguably the finest cast on television, as well as the sharpest writing and direction. Gilligan and company are experts at orchestrating exhilarating centerpieces (such as a second-episode shootout), but their real brilliance is evident in extended sequences that communicate plot developments and twists through dramatic staging and visual framing.” – Nick Schager, Daily Beast
“It never feels like Saul is repeating itself, as the characters keep making huge shifts… These episodes still feel alive with possibilities.” – Alan Sepinwall, Rolling Stone
“[Better Call Saul] continues to be one of the best dramas because of the commitment it shows to its captivating characters.” – Chase Hutchinson, Collider
Star Trek: Discovery: Season 4
Captain Burnham and the crew of the U.S.S. Discovery face a threat to both Federation and non-Federation worlds in the fourth season of the sci-fi series.
RATED TV-14. CONTAINS VIOLENCE, LANGUAGE, AND SEXUAL MATERIAL.
“With the crew established and the characters beloved, the series is now taking the time to lead boldly not with surprises, but with tremendous amounts of heart.” – Alex Zalben, Decider
“Discovery has broached stories about division, war, and strife and now has finally come back to the original vision of the franchise by imbuing a sense of unity, hope, and camaraderie that helps elevate this to be the best season of the show yet.” – Alex Maidy, JoBlo’s Movie Network
“Fans might be forgiven for wondering just how many chances Discovery could possibly have to reinvent itself. But judging by Season 4’s first episode, the fourth time just might be the charm.” – Lacy Baugher, Den of Geek
Burial
In the last days of WWII, a band of Allied soldiers trafficking Hitler’s remains out of Germany are ambushed by Nazi Wehrwolf fighters.
NOT RATED. CONTAINS GRAPHIC VIOLENCE, STRONG LANGUAGE, SEXUAL ASSAULT, DRUG MATERIAL, AND SMOKING.
“Clean narrative lines, top-notch production design, great acting, and Hollywood-grade cinematography and lighting elevate Burial above what might have been a forgettable schlock-fest.” – Warren Cantrell, The Playlist
“Not-quite-horror despite its macabre theme and mood, this sophomore directorial feature for Ben Parker is a handsomely produced period thriller that delivers in terms of action and atmospherics…” – Dennis Harvey, Variety
“It’s brutal and exceedingly bloody, as one would expect from this kind of lean genre picture. But Burial also is packed with meaty philosophical questions about gods, monsters, and men at war, and it’s exceedingly well-executed.” – Katie Walsh, Los Angeles Times
Old Man
When a lost hiker stumbles upon an erratic old man living in the woods, he could never have imagined the nightmare that awaits.
NOT RATED. CONTAINS STRONG LANGUAGE, AND VIOLENCE.
“This film is a superior example of how flavorful dialogue, talented actors and excellent staging can make something familiar really pop.” – Noel Murray, Los Angeles Times
“The (un)reality of what’s happening beneath the surface is hardly unique or secretive, but the way Veach writes its revelations and McKee films its visual labyrinth spanning past, present, and purgatory ensure the drama unfolding is never without intrigue.” – Jared Mobarak, The Film Stage
“The movie builds up enough steam, and has a sufficient supply of jolts, to make Old Man stick to the ribs at least a little by the time it’s over.” – Glenn Kenny, RogerEbert.com
About Endlessness
About Endlessness is a reflection on human life in all its beauty and cruelty, its splendour and banality. We wander, dreamlike, gently guided by our Scheherazade-esque narrator. Inconsequential moments take on the same significance as historical events: a couple floats over a war-torn Cologne; on the way to a birthday party, a father stops to tie his daughter’s shoelaces in the pouring rain; teenage girls dance outside a café; a defeated army marches to a prisoner of war camp. Simultaneously an ode and a lament, About Endlessness presents a kaleidoscope of all that is eternally human, an infinite story of the vulnerability of existence.
NOT RATED. CONTAINS VIOLENT IMAGES AND MILD LANGUAGE.
“He remains a master of composition, subtly guiding your eye towards details that reveal the kind of stories we might usually overlook – in life as well as in the cinema itself.” – Robbie Collin, The Telegraph
“Each shot is a kind of sight gag, a visual and philosophical joke with absurdity in the setup and sorrow in the punchline. But this time, more of the jokes are one-liners, in which the premise and the payoff are one and the same.” – A.O. Scott, New York Times
“At the age of 78, Andersson continues to make films that desire to capture no less than a grand sense of human existence — and that somehow achieve it. Here’s hoping this one isn’t his last.” – Alison Willmore, Vulture
Smile
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RATED R FOR STRONG VIOLENT CONTENT AND GRISLY IMAGES, AND LANGUAGE.
“This isn’t just a great horror story; it’s genuinely scary. You may be able to recognize familiar elements in its DNA, but it’s mutated into something distinct and unsettling. What a showcase of shocks. What a devilish debut.” – William Bibbiani, The Wrap
“A relentlessly somber, precision-tooled picture whose frights only reinforce the wit of its premise, Smile turns our most recognizable sign of pleasure into a terrifying rictus of pain.” – Jeannette Catsoulis, New York Times
“It doesn’t happen too often, especially from modern studio fare, but Parker Finn’s Smile is the kind of horror movie that earns the unique qualification of ‘genuinely scary.’” – Nick Allen, The Playlist
The Woman King
The Woman King is the remarkable story of the Agojie, the all-female unit of warriors who protected the African Kingdom of Dahomey in the 1800s with skills and a fierceness unlike anything the world has ever seen. Inspired by true events, The Woman King follows the epic journey of General Nanisca (Viola Davis) as she trains the next generation of recruits and readies them for battle against an enemy determined to destroy their way of life.
RATED PG-13 FOR SEQUENCES OF STRONG VIOLENCE, SOME DISTURBING MATERIAL, THEMATIC CONTENT, BRIEF LANGUAGE, AND PARTIAL NUDITY.
“The Woman King is unafraid to sprawl out and dig in as it explore histories untold, while delicious action sequences of near-exclusively hand-to-hand combat unfurl in front of us. It is a celebration of a filmmaker and a cast at the peak of their powers.” – Rogan Graham, Little White Lies
“Come for the bloodshed, stay for the sisterhood. Like Black Panther before it, The Woman King immerses us in African culture; only this time, it shifts the focus to real-life women and proves, without the corny factor, that we have always been warriors.” – Carys Anderson, Consequence
“The Woman King is a film that has the confidence to be completely sincere in both the sharp moments of humor and the stunning battle sequences. The way it all grapples with history is subsequently clear-eyed, making some closing statements feel especially resonant. It is a film that ensures there is no denying Prince-Bythewood’s dedication as a director and visual artist who can take on any cinematic challenge with ease.” – Chase Hutchinson, Collider
Lyle, Lyle, Crocodile
When the Primm family (Constance Wu, Scoot McNairy, Winslow Fegley) moves to New York City, their young son Josh struggles to adapt to his new school and new friends. All of that changes when he discovers Lyle – a singing crocodile (Shawn Mendes) who loves baths, caviar and great music-living in the attic of his new home. The two become fast friends, but when Lyle’s existence is threatened by evil neighbor Mr. Grumps (Brett Gelman), the Primm’s must band together with Lyle’s charismatic owner, Hector P. Valenti (Javier Bardem), to show the world that family can come from the most unexpected places and there’s nothing wrong with a big singing crocodile with an even bigger personality.
RATED PG FOR MILD PERIL AND THEMATIC ELEMENTS.
“The title character of Lyle, Lyle, Crocodile may be a coldblooded reptile — in this case, one who sings — but never you worry: This family flick delivers enough pulse-quickening earworms and warmth to melt even the iciest of hearts.” – Thomas Floyd, Washington Post
“The result is a movie likely to appeal as much to anyone who enjoys pop-scored animal hijinks on TikTok as to anyone who actually remembers the books.” – Luke Y. Thompson, AV Club
“It’s all harmless fun, containing enough mild laughs and genuinely sweet moments (if you can contain your emotions during the reunion scene between Lyle and Hector, you’re made of stronger stuff than I am) to keep its target audiences entertained.” – Frank Scheck, Hollywood Reporter
Reacher: Season 1
Retired Military Police Officer Jack Reacher (Alan Ritchson) is arrested for murder just as he arrives at the small Georgia town of Margrave in this drama series based on the Lee Child’s Reacher novels.
RATED TV-MA. CONTAINS GRAPHIC VIOLENCE, STRONG LANGUAGE, NUDITY, SEXUAL CONTENT, AND THEMATIC MATERIAL.
“It is a show that knows exactly what it is and what it needs to be, providing an entertaining catharsis in seeing Reacher take down those who abuse their power. He is capable of just about anything, for better or worse… Whatever path Reacher ends up taking, as long as he is played by Ritchson, the material is in good hands.” – Chase Hutchinson, Collider
“What’s for sure is that if you like the Reacher books, you’ll like the Reacher TV show. The blend that marks the books—of brute force and dry wit, of rootlessness and personal loyalty, of animal savagery and human decency—is present and accounted for.” – Glenn Garvin, Reason
“Fortunately for the series, [Alan Ritchson is] gifted enough—and has a sufficient sense of understated humor—to sell a Reacher-worthy combination of menace, cynicism and even grudging warmth. It’s something that helps make the show one of the more watchable on TV, where there’s certainly no shortage of crime series.” – John Anderson, Wall Street Journal
House of the Dragon: Season 1
Set 200 years before the events of Game of Thrones, the prequel focuses on House Targaryen that includes King Viserys Targaryen (Paddy Considine), his younger brother Prince Daemon Targaryen (Matt Smith) and the king’s daughter Princess Rhaenyra Targaryen (Emma D’Arcy).
RATED TV-MA. CONTAINS STRONG BLOODY VIOLENCE, LANGUAGE THROUGHOUT, STRONG SEXUAL CONTENT, NUDITY, AND THEMATIC MATERIAL.
“With quality direction and cinematography, strong writing that combines political intrigue, family melodramatics and some impressively nasty twists and turns, and powerful performances from a cast that includes a number of familiar and well-decorated and mostly British veterans along with some greatly talented relative newcomers, House of the Dragon has the gravitas and visceral gut-punch effectiveness of a series that could be with us for a very long time.” – Richard Roeper, Chicago Sun-Times
“There is enough to love in House of the Dragon that keeps me coming back for more. Between the dragons, the strength of the actors, and the twists and turns of the plot, I’m eager to see where we will be taken next.” – Therese Lacson, Collider
“It is less sprawling and dense, and there is no wit-spouting equivalent to fan favorite Tyrion Lannister. But the confident storytelling and the epic setting may be immersive enough to sway even those still bitter about the Game of Thrones finale. Is it as good as Thrones? It’s too early to say, but the first episodes are compelling in their own way — think Succession with sharp swords instead of sharp words.” – Matthew Gilbert, Boston Globe
Halloween Ends
Four years after the events of last year’s Halloween Kills, Laurie is living with her granddaughter Allyson (Andi Matichak) and is finishing writing her memoir. Michael Myers hasn’t been seen since. Laurie, after allowing the specter of Michael to determine and drive her reality for decades, has decided to liberate herself from fear and rage and embrace life. But when a young man, Corey Cunningham (Rohan Campbell), is accused of killing a boy he was babysitting, it ignites a cascade of violence and terror that will force Laurie to finally confront the evil she can’t control, once and for all.
RATED R FOR BLOODY HORROR VIOLENCE AND GORE, LANGUAGE THROUGHOUT, AND SOME SEXUAL REFERENCES.
“Primarily a psychological thriller and a small town drama, Halloween Ends is more interested in exploring the themes of the series than in its lore, and that’s a good thing.” – Dylan Roth, Observer
“If there is one lesson that Halloween Ends — hell, that this entire trilogy, this entire franchise — easily imparts, with blood and guts and terror to spare, it’s that horror never really ends. It just takes a different shape. This story surely will, too, but for now, it’s concluded in fine fashion.” – Kate Erbland, IndieWire
“Green, despite having co-written and directed all of the entries in this most recent crop of Halloween sequels, isn’t really a horror guy. He doesn’t seem to have the precision and rhythm required to truly shock us. Luckily, with Halloween Ends, he’s found a way to make one of these movies his own, sans scares but with tons of atmosphere and a sense of queasy, gathering dread.” – Bilge Ebiri, Vulture
Guidance
In the not-too-distant future, humanity slowly rebuilds itself a decade after The Great War. Believing that the ability to lie is the root cause of the devastating conflict, a tech entrepreneur creates a pill containing a nanotechnology app known as “Guidance” that allegedly will make everyone more enlightened. Once swallowed, an A.I. “installs” in the person’s nervous system and aids their ability to detect deception in other people among other enhancements. A young couple goes on a weekend retreat to the countryside, and they begin to use Guidance. However, recent events have potentially compromised their trust in one another. With the tech in their bodies, the couple tries to subvert Guidance in the hopes of saving their relationship before it’s too late.
NOT RATED.
“Does what great science fiction always does: deepen our understanding of each other through science and technology.” – Benjamin Franz, Film Threat
“Uses the constraints of its microbudget well, cleverly creating a near future world which is both believable and just different enough.” – Rob Aldam, Backseat Mafia
“When all is said and done, the idea of living without lies becomes less important. The plot focuses on the interactions people have and how important they are. It is a wonderful bit of storytelling that is charming, frightening, and somehow relatable.” – Nathaniel Muir, AIPT
Terrifier 2
After being resurrected by a sinister entity, Art the Clown returns to the timid town of Miles County where he targets a teenage girl and her younger brother on Halloween night.
NOT RATED. CONTAINS STRONG GRAPHIC VIOLENCE, DISTURBING IMAGES, STRONG LANGUAGE, BRIEF NUDITY, DRUG USE, AND THEMATIC MATERIAL.
“…builds to a satisfying conclusion that of course leaves plenty of room for sequels. In some ways Terrifier 2 improves on its predecessor while in others it retains some of the same flaws, but it’s never boring, and those that can stomach the gruesome imagery will likely want to see where Leone takes Art next.” – Sean Farrell, AFPL Journal
“Strictly for hardcore horror fans, though I can see this also becoming a huge ‘dare you to watch it’ event for the uninitiated. We haven’t had a movie this dangerous in the theaters in a long time, and its presence is both important and historical in the history of extreme cinema. This movie will bite your face off.” – Michael Talbot-Haynes, Film Threat
“Terrifier 2 feels like it was destined to be the ultimate overkill horror movie, and whatever else it might turn out to be, it’s certainly not forgettable” – Matthew Jackson, Paste
The Staircase
The suspicious death of Kathleen Peterson (Toni Collette), the trial of her husband Michael (Colin Firth) and the arrival of a documentary crew are some of the events covered in this Antonio Campos limited drama series based on the 2004 true crime docuseries of the same name.
RATED TV-MA. CONTAINS VIOLENCE, NUDITY, SEXUAL MATERIAL, STRONG LANGUAGE, THEMATIC MATERIAL, AND DRUG USE.
“The Staircase is both a masterful moment for an assured filmmaker, and it’s the jolt that the true crime storytelling industry needs… The ensemble work in this series is a veritable feast, of calibrated performances, framing and editing, scene after scene.” – Nick Allen, RogerEbert.com
“The Staircase is exceptionally smart television, an examination of truth, guilt and self-delusion that crackles with ideas and great performances.” – Chris Vognar, San Francisco Chronicle
“This story really has it all, and Campos clearly gets all of it. His obsession with the case pays off as he turns it into high drama, and high art.” – Brian Tallerico, The Playlist
Welcome to Hell
To escape the leader of a satanic death metal band, Lucia moves to a remote cabin in the forest with her grandmother. Though safe in her surroundings, she is haunted by his memory and knows he will stop at nothing to track her down.
NOT RATED. CONTAINS STRONG BLOODY VIOLENCE, SEXUAL CONTENT, THEMATIC MATERIAL, AND LANGUAGE.
“Jimena Monteoliva resorts to a ’70s aesthetic in this violent and disquieting claustrophobic thriller with a potent plea for female empowerment.” – Ezequiel Boetti, Otroscines
“Monteoliva excels in using witchcraft to combat gender violence, giving depth to a story that otherwise would’ve limited itself to metalhead imagery, crucifixes, horns, skulls, and demons.” – Astrid Riehn, La Nación
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