New Videos April 2023

New Videos: April 2023

Confess, Fletch

Fletch (Jon Hamm) becomes the prime suspect in a murder case while searching for a stolen art collection. The only way to prove his innocence? Find out which of the long list of suspects is the culprit—from the eccentric art dealer and a missing playboy to a crazy neighbor and Fletch’s Italian girlfriend. Crime, in fact, has never been this disorganized.


Confess, Fletch is an absolute pleasure – the mystery is a corker, and I giggled from beginning to end.” – Jason Bailey, The Playlist

“Though the original novels were written in the ’70s and ’80s, at times Confess, Fletch feels like a ’50s farce, with good old-fashioned misdirection and mistaken identities doing the leg work. Unlike James Bond, Fletch doesn’t need gadgets or fast cars to untangle this mystery, just a few Negronis and heaps of charisma. The formula works.” – Jude Dry, IndieWire

“Hamm’s performance here as freelance journalist and investigative whiz Irwin ‘Fletch’ Fletcher is a master class in effortless charm, a comedic turn that never sacrifices the character’s intelligence for a punchline yet steers clear of the smugness and smarminess so prevalent in contemporary comedy.” – Geoff Berkshire, Los Angeles Times

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An ordinary man (Bill Nighy), reduced by years of oppressive office routine to a shadow existence, makes a supreme effort to turn his dull life into something wonderful.


“This quiet tale of an ordinary 1950s London man (Bill Nighy) facing the end of his life is a joy: elegantly written, movingly performed, evocatively filmed.” – Moira Macdonald, Seattle Times

“In Living, Mr. Nighy excels again in a performance that is magnificent in its restraint and eloquent in its sparseness of words.” – Kyle Smith, Wall Street Journal

Living is not a big movie, despite the pedigree of its creators. But it is an artistically masterful one—a film that, while deceptively simple, may linger in your mind for years to come.” – Matthew Huff, AV Club

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Magic Mike’s Last Dance

“Magic” Mike Lane (Channing Tatum) takes to the stage again after a lengthy hiatus, following a business deal that went bust, leaving him broke and taking bartender gigs in Florida. For what he hopes will be one last hurrah, Mike heads to London with a wealthy socialite (Salma Hayek Pinault) who lures him with an offer he can’t refuse… and an agenda all her own. With everything on the line, once Mike discovers what she truly has in mind, will he—and the roster of hot new dancers he’ll have to whip into shape—be able to pull it off?


Magic Mike’s Last Dance is measured and mature, which makes it less of a crowd-pleaser than the first two movies, but it allows Channing Tatum and Salma Hayek to bask in their incredible romantic chemistry.” – Siddhant Adlakha, IGN

“Delivering the male-entertainment goods while radiating a newfound degree of tender romanticism, it’s a fairy-tale coda that’s at once sensual, lyrical, and liberating.” – Nick Schager, The Daily Beast

“Mike and Max’s relationship—in which she whisks him off to London so he can direct an all-male revue at the theater she owns—is the stuff of romance novels, but that’s the point: Last Dance is all wish fulfillment, seductive and surreal.” – Shirley Li, The Atlantic

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Triangle of Sadness

Celebrity model couple, Carl (Harris Dickinson) and Yaya (Charlbi Dean), are invited on a luxury cruise for the uber-rich, helmed by an unhinged boat captain (Woody Harrelson). What first appeared Instagrammable ends catastrophically, leaving the survivors stranded on a desert island and fighting for survival.


“It’s a fantastic mix of the funny, the astute, the disturbing and the brainy in the very specific style of Östlund. It’s a pleasure to watch it play out.” – Karen Gordon, Original Cin

“It may not leave you with a very positive impression of humanity, but at least it allows us some wry chuckles about the increasingly dire state of things.” – Sean Farrell, AFPL Journal

“Be warned. Triangle of Sadness rants and smirks at the state of the world over two-and-a-half hours, which is quite some running time for a satirical comedy. But it is never boring. Partly that’s because the political commentary is so shrewd, and partly it’s because it has a surprising amount of warmth and nuance, too. Östlund ensures that while the situations may be absurd, the people in them are as human as any of us.” – Nicholas Barber, BBC

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Infinity Pool

While staying at an isolated island resort, James (Alexander Skarsgård) and Em (Cleopatra Coleman) are enjoying a perfect vacation of pristine beaches, exceptional staff, and soaking up the sun. But guided by the seductive and mysterious Gabi (Mia Goth), they venture outside the resort grounds and find themselves in a culture filled with violence, hedonism, and untold horror. A tragic accident leaves them facing a zero tolerance policy for crime: either you’ll be executed, or, if you’re rich enough to afford it, you can watch yourself die instead.


“Surreal, sophisticated and sometimes sickening, Infinity Pool suggests that while the elder Cronenberg might be fixated on the disintegration of our bodies, his son is more concerned with the destruction of our souls.” – Jeannette Catsoulis, New York Times

“If you’re willing to surf on the wonderfully weird and wild wavelength of Infinity Pool it is indeed a singular, and unforgettable, ride.” – Katie Walsh, Los Angeles Times

“There’s just more under the hood than your typical imitators: the antic disposition of the idle rich, the way infinite money can absolve the rich of any accountability, and the ever-predatory nature of colonial tourism. Wrap it up in a package this wild, shocking, and perverse, and it makes for a delightful bloody mess that you’ll want to go back to.” – Clint Worthington, Consequence

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Emily imagines the transformative, exhilarating, and uplifting journey to womanhood of a rebel and a misfit, one of the world’s most famous, enigmatic, and provocative writers who died too soon at the age of 30.


“It’s only right that a film about her challenges—and maybe even disturbs—its audience in turn.” – Shirley Li, The Atlantic

“With Emily, Frances O’Connor has crafted a first film that feels like the work of an accomplished master.” – Jason Bailey, The Playlist

“Building on a series of oppositions — nature and culture, realism and romance, duty and freedom — O’Connor brings Emily the myth to vibrant life, persuasively suggesting that this ostensibly strange and cloistered genius came into being not despite her contradictions but through them.” – Manohla Dargis, New York Times

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Jesus Revolution

In the 1970s, Greg Laurie (Joel Courtney) is being raised by his struggling mother, Charlene (Kimberly Williams-Paisley). Laurie and a sea of young people descend on sunny Southern California to redefine truth through all means of liberation. Everything changes when Laurie meets Lonnie Frisbee (Jonathan Roumie), a charismatic hippie-street-preacher, and Pastor Chuck Smith (Kelsey Grammer) who have thrown open the doors of Smith’s languishing church to a stream of wandering youth. What unfolds becomes the greatest spiritual awakening in American history. Rock and roll, radical love, and newfound faith lead to a Jesus Revolution that turns one counterculture movement into a revival that changes the world.


“If there is to be an artistic gateway to a new era of nationwide empathy and tolerance, one could do far worse than Jesus Revolution.” – Ian Simmons, Kicking the Seat

“It’s one of the most appealing faith-based big-screen entertainments in a while, polished and persuasive without getting too preachy.” – Dennis Harvey, Variety

“This drama is almost certain to energize and inspire the Christian crowd, but it’s also likely to captivate those who tend to avoid films about religion. That’s both because it’s very well made and because there’s an honesty and accountability here.” – Tara McNamara, Common Sense Media

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Maybe I Do

Michelle (Emma Roberts) and Allen (Luke Bracey) are in a relationship. They decide to invite their parents to finally meet about marriage. Turns out, the parents already know one another well, which leads to some differing opinions about marriage.


“Sarandon, Keaton, Gere, Macy, Roberts, and Bracey, elevate the script with a charm that feels entirely natural, and they make these characters shine.” – Samantha Coley, Collider

“Overall, Maybe I Do is a harmless addition to the romantic comedy genre and does not do much to change it. Harmless, sweet, and brief, this is a nice little date movie that delivers exactly what it advertises.” – Alex Maidy, JoBlo

“Thankfully, with two Academy Award-winners in Keaton and Sarandon, combined with Oscar-nommed Macy on fine form, and Richard Gere still exuding the suave charm he did in his 1980s heyday, Maybe I Do is worth watching for their performances alone.” – Amelia Harvey, Frame Rated

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In late 1930’s Los Angeles, down on his luck detective Philip Marlowe (Liam Neeson) is hired to find the ex-lover of a glamorous heiress (Diane Kruger), daughter of a well-known movie star (Jessica Lange). The disappearance unearths a web of lies, and soon Marlowe is involved in a dangerous, deadly investigation where everyone involved has something to hide.

“Nobody’s ever going to match Bogart’s iconic work opposite Lauren Bacall in Howard Hawks’ 1946 classic, but Neeson delivers a reliably powerful, world-weary, ‘I’m too old for this s—!’ performance in Neil Jordan’s exquisitely photographed and sometimes convoluted but thoroughly enjoyable period piece.” – Richard Roeper, Chicago Sun-Times

“Revisionist this may be, but it’s done with smarts and, sure… perceptiveness and sensitivity.” – Glenn Kenny,

“In his 100th movie, Liam Neeson is spot on as the flatfoot, just when it seemed like the Irish star’s career had devolved into one violent revenge fantasy after the next.” – Thelma Adams, AARP Movies for Grownups

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Britt-Marie Was Here

63-year-old Britt-Marie suddenly reconsiders her purpose in life after she discovers her husband of 40 years has been cheating on her. Accepting a supremely unglamorous job at a ramshackle youth center in the backwater town of Borg, she reluctantly takes on the impossible task of coaching the children’s soccer team to victory. Despite having no experience and no resources, Britt-Marie is invigorated by the team’s infectious energy and, for the first time maybe ever, allows herself to step out of her comfort zone—and into a potential romance with a charming local police officer.


“This is a small, sweet work that finds notes of grace that elevate it into something bordering on inspirational.” – Steven Prokopy, Third Coast Review

Britt-Marie Was Here is based on a novel by Fredrik Backman (A Man Called Ove), whose themes often include cranky people who isolate themselves and community sports that bring people together. Thankfully, he and director Tuva Novotny keep the characters astringent and his tone wry, so it never gets cuddly or cloying.” – Nell Minow,

“[I]n leading lady August (whose storied career runs from Ingmar Bergman to Star Wars to TV’s The Investigation), the film has its real star performer, and her deftly measured approach pays strong emotional dividends.” – Trevor Johnston, Radio Times

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A Chiara

Winner of the Cannes’ Directors’ Fortnight Award and a rising voice of Italian cinema, filmmaker Jonas Carpignano continues his exploration of the intricacies of life in contemporary Calabria with this compelling character study of a teenager, Chiara, who gradually comes to discover that her close-knit family is not all that it seems. In this furiously paced drama, Chiara investigates her father’s disappearance just one day after her oldest sister’s birthday. As she gets closer to the difficult truth about her mysteriously missing father—and the crime syndicates that control her region— Chiara is forced to decide what kind of future she wants for herself.


“You feel the weight of Chiara’s dilemma, the cost of the knowledge she demands, and the heroism of her willingness to pay it.” – A.O. Scott, New York Times

“For all its social-realist tendencies, A Chiara is told in a wonderfully fluid and poetic fashion.” – Ed Frankl, The Film Stage

“What’s best about A Chiara is its totality of naturalism and subjectivity — how it humanely complicates a teenager’s newfound self-possession, so that we admire her quest for clarity and reckoning about her family, while worrying how it will affect the decision she makes about her future.” – Robert Abele, Los Angeles Times

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A group of friends gather for a much-needed weekend getaway at a remote and historic hotel. Celebration turns into terror as one by one, each guest faces their own worst fear.


“There’s nothing subtle or deeply original about Fear, though it does feature some impressive albeit low-budget special effects, first-rate production design and strong performances from the cast.” – Richard Roeper, Chicago Sun-Times

“With so many jump scare thrillers that fail to make much of an impression, Fear feels like a throwback with genuine scares and uneasy moments. It’s well worth conquering your apprehensions and checking this one out.” – Jeffrey Lyles, Lyles’ Movie Files

“It’s horror comfort food that doesn’t address what it teases at the start, but still competently provides the basics.” – Abbie Bernstein, Assignment X

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Invitation to a Murder

A reclusive billionaire invites six seemingly random strangers to his island estate in the south of England. Aspiring detective Miranda Green finds the mysterious invitation too alluring to pass up. When another guest turns up dead, Miranda must get to the bottom of the malicious plot behind the gathering.


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Son of Monarchs

A Mexican biologist living in New York returns to his hometown, nestled in the majestic butterfly forests of Michoacán. The journey forces him to confront past traumas and reflect on his hybrid identity, sparking a personal metamorphosis.


“Gambis, who is both a director and a biologist, has crafted a piece of art that captivates as much as it informs.” – Gregory Ellwood, The Playlist

“The film’s rich imagery will be imprinted in your memory, returning to you in dreams.” – Isabelia Herrera, New York Times

“As it traverses the sacred and the factual, the film intently portrays the liminal space anyone who’s ever left home knows well. It’s the threshold between the person you were, who you’ve become, and how the two halves are at odds mutating into a unique color, a new prism-like worldview.” – Carlos Aguilar, The Wrap

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Citizen Ashe

Citizen Ashe is the story of sports legend and social activist Arthur Ashe. Known to most by his stellar sports career – Wimbledon, US Open and Australian Open winner and the first black player to be selected for the US Davis Cup Team – this film uncovers Ashe’s personal evolution; how his activism grew and embraced not only the Civil Right movement and African-Americans but all oppressed peoples throughout the world. Ashe died of AIDS-related complications in 1993 and was posthumously awarded the Presidential Medal of Freedom the same year.


Citizen Ashe is a fascinating portrait that weaves together his on- and off-court life seamlessly.” – Tambay Obenson, IndieWire

“Ultimately, if Miller and Pollard don’t paint a particularly warts-and-all portrait of Ashe, they don’t set him up as some sort of saint either: just a certain man of a certain era with an amazing talent. It’s a fitting tribute.” – Gary Goldstein, Los Angeles Times

“By the time we get to Ashe’s AIDS-related activism, and the horrible way USA Today twisted his arm into revealing his diagnosis, Citizen Ashe has taken us on a complex, sometimes infuriating tour of its subject’s life. It begins with the birth of an athlete, then morphs into the creation of an activist. The transition is so subtle that you only realize it after the film ends.” – Odie Henderson,

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Kitchen Brigade

Cathy is a sous-chef wanting to open a restaurant. With financial difficulties, Cathy accepts a job at a shelter for young migrants. At first she hates the job then her passion for cuisine starts to change children’s lives.


“It’s smart and topical, touching and touchy. And it is, as the French would put it, un putain de délice — delightful, with an expletive added for emphasis.” – Roger Moore, Movie Nation

A well-achieved light film with a pleasant theme.” – Erick Estrada, Cinegarage

“Despite its weighty political statement, this entertaining film is sweet and charming as a result of a solid story, a likeable cast of characters, and a kindhearted sensibility that’s cozy and comfortable.” – Louisa Moore, Screen Zealots

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Beba is a poetic, raw and ruthless coming of age tale, in which a young NYC born and bred Afro-Latina stares down historical, societal, and generational trauma with unflinching courage.


“An insightful, engaging and all-around affirmational auto-portrait from an Afro-Latina New Yorker with an ear for poetry and an eye for the ineffable, Beba never questions its own right to exist.” – Peter Debruge, Variety

“It’s a self-propelled therapy session laid bare to the world. And it’s 100 percent raw and real, whether natural or not.” – Jared Mobarak, The Film Stage

“It can be overwhelming at times, and it’s true that Huntt’s deeply rooted powers of introspection can sometimes curdle into self-absorption. But her lacerating honesty and restless, searching spirit make Beba a virtuoso bomb-drop of a documentary.” – Mark Keizer, AV Club

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Kubrick by Kubrick

A rare and transcendent journey into the life and films of the legendary Stanley Kubrick like we’ve never seen before, featuring a treasure trove of unearthed interview recordings from the master himself.


“Backed by a wealth of archive interviews and a judicious use of clips, Gregory Monro’s elegant documentary should prove irresistible to those familiar with Kubrick’s films and keen to deepen their understanding of his process and filmmaking philosophy.” – Allan Hunter, Screen Daily

“What emerges won’t be revelatory for anyone who has spent time studying the Kubrick filmography. But it’s still such a rare treat to hear the man himself say anything at all — let alone to hear him talk about why the ideas in his work and the challenges of bringing them to the screen excited him as much as they did his fans.” – Noel Murray, Los Angeles Times

“He may not have formulated every aspect of his genius in his own words, but the movies he made speak for themselves, and this reverential documentary is another welcome excuse to revisit them.” – Eric Kohn, IndieWire

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