Ant-Man and the Wasp: Quantumania
The official kick off of phase 5 of the Marvel Cinematic Universe finds Scott Lang (Paul Rudd) and Hope Van Dyne (Evangeline Lilly), Hank Pym (Michael Douglas), and Janet Van Dyne (Michelle Pfeiffer) exploring the Quantum Realm, interacting with strange new creatures and embarking on an adventure that will push them beyond the limits of what they thought was possible.
RATED PG-13 FOR VIOLENCE/ACTION, AND LANGUAGE.
“Quantumania might be key to kicking off the big arcs to come in the MCU Phase 5, but it doesn’t forget to have a good time.” – Liz Shannon Miller, Consequence
“Ant-Man and the Wasp: Quantumania is a solid start to the MCU’s Phase 5, working well to serve Scott Lang’s story and introduce the menacing Kang.” – Molly Freeman, Screen Rant
“Quantumania may not swing for the fences as ambitiously as recent entries like Wakanda Forever or Doctor Strange in the Multiverse of Madness, but it does take the wildly disparate tones and plot threads that are seemingly endemic to this series and turn them into an entertainingly cohesive whole. To be continued, obviously.” – Alonso Duralde, The Wrap
Shazam! Fury of the Gods
Shazam! Fury of the Gods continues the story of teenage Billy Batson (Asher Angel) who, upon reciting the magic word “SHAZAM!,” is transformed into his adult Super Hero alter ego, Shazam (Zachary Levi).
RATED PG-13 FOR SEQUENCES OF ACTION AND VIOLENCE, AND LANGUAGE.
“It’s an entertaining fantasy from a kid’s perspective that hearkens back to the days of reading a stack of comics on your bed for an afternoon that never seemed to end.” – John Kirk, Original Cin
“It’s charming — and it’s different, and it’s worth saving.” – Kate Erbland, IndieWire
“Inconsistencies and issues aside, Shazam 2 hits the comic book movie sweet spot. The performances are strong, the humor lands, and the stakes feel high with comic book panache and the kinds of visuals one only gets in a comic book (business-destroying minotaurs, anyone?).” – Jeff Ewing, /Film
After dominating the boxing world, Adonis Creed (Michael B. Jordan) has been thriving in both his career and family life. When a childhood friend and former boxing prodigy, Damian (Jonathan Majors), resurfaces after serving a long sentence in prison, he is eager to prove that he deserves his shot in the ring. The face off between former friends is more than just a fight. To settle the score, Adonis must put his future on the line to battle Damian – a fighter who has nothing to lose.
RATED PG-13 FOR INTENSE SPORTS ACTION, VIOLENCE, AND SOME STRONG LANGUAGE.
“Michael B. Jordan imbues this spinoff/threequel with a cinematic zest the series has never seen before, expanding the visual language of the Hollywood boxing movie in remarkable ways.” – Siddhant Adlakha, Polygon
“Creed III honors the past while looking forward to the future, and gives Jordan—both the actor and the director—the spotlight in a way that shows his immense talents.” – Ross Bonaime, Collider
“Jordan has long since proven himself as an actor of terrific charisma, versatility and humanity; with Creed III, he shows he’s just as captivating on the other side of the lens.” – Christy Lemire, RogerEbert.com
80 for Brady
Four best friends live life to the fullest when they take a wild trip to the 2017 Super Bowl to see their hero Tom Brady play. Inspired by a true story.
RATED PG-13 FOR BRIEF STRONG LANGUAGE, SOME DRUG CONTENT, AND SOME SUGGESTIVE REFERENCES.
“There are great messages about female friendship and living life to the fullest no matter your age, and it’s so hard not to get wrapped up in the outcome of the game (even knowing how it plays out) that the purely uplifting ending is nearly impossible to resist.” – Sean Farrell, AFPL Journal
“One can sit back, relax, and enjoy 80 for Brady, understanding that nothing here makes sense in terms like ‘might happen’ or even ‘should happen.’ Just as all fairy tales should, this movie lives in the land of ‘wouldn’t it be wonderful.’” – Nell Minow, RogerEbert.com
“80 for Brady is a surprisingly sweet and sentimental comedy led by four stellar performances — especially by Lily Tomlin, who’s never been more radiant.” – Siddhant Adlakha, IGN
Knock at the Cabin
While vacationing at a remote cabin, a young girl and her parents are taken hostage by four armed strangers who demand that the family make an unthinkable choice to avert the apocalypse. With limited access to the outside world, the family must decide what they believe before all is lost.
RATED R FOR VIOLENCE AND LANGUAGE.
“This isn’t the sort of horror movie that is filled with gore or jump scares, rather it is of a sort that will leave the viewer haunted long after it’s over.” – Sean Farrell, AFPL Journal
“The result is the most exhilarating and wounding film M. Night Shyamalan has made in many, many years.” – Bilge Ebiri, Vulture
“Knock at the Cabin does not disappoint. It’s a movie that reminds us why Shyamalan is one of contemporary cinema’s greatest alchemists and a prime example of a filmmaker at his best and boldest.” – Simon Abrams, The Playlist
Yellowstone: Season 5, Part 1
Amid shifting alliances, unsolved murders, open wounds, and hard-earned respect, Dutton family patriarch John Dutton (Kevin Costner) is determined to protect his ranch and his family’s legacy by any means necessary.
RATED TV-MA. CONTAINS BLOODY VIOLENCE, STRONG LANGUAGE THROUGHOUT, PARTIAL NUDITY, AND SMOKING.
“No fans will be disappointed by this premiere as Taylor Sheridan’s family drama continues to deserve to be one of the most popular series on television.” – Alex Maidy, JoBlo
“The opening episode has plenty of what fans love most – revenge, romance and remorse… Even though there’s plenty of Dallas maneuvering, you can see why the Paramount Network series is so popular. These characters don’t really care what others think. They press on and leave plenty in their wake.” – Bruce Miller, Sioux City Journal
“Self-reliance and refusal to capitulate are deeply imbued in the American grain, and never more intensely than right now. Yellowstone’s new season captures that feeling — that’s why it’s riding higher than ever.” – Fred Schruers, AARP
After a catastrophic crash on an unknown planet, pilot Mills (Adam Driver) quickly discovers he’s actually stranded on Earth… 65 million years ago. Now, with only one chance at rescue, Mills and the only other survivor, Koa (Ariana Greenblatt), must make their way across an unknown terrain riddled with dangerous prehistoric creatures in an epic fight to survive.
RATED PG-13 FOR INTENSE SCI-FI ACTION AND PERIL, AND BRIEF BLOODY IMAGES.
“We’ve seen the bones of this creature before, for sure, but some terrific GGI monsters, swampy scares and Driver’s committed performance make 65 a snap-toothed popcorn multiplex movie which, at 93 minutes, is sprightly in comparison with its lumbering rivals.” – Fionnuala Halligan, Screen Daily
“While the first two-thirds of the film gets the job done, it’s the third act where 65 goes all out, and it sticks the landing perfectly.” – Simon Thompson, The Playlist
“By keeping its goals limited, it’s able to deliver what it promises, and that stands for something. I’ll admit I was more entertained by this high-concept sci-fi adventure than half the films I have seen thus far in 2023.” – James Berardinelli, ReelViews
Adam, the son of a fisherman, is offered the ultimate privilege to study at the Al-Azhar University in Cairo, the epicenter of power of Sunni Islam. Shortly after his arrival in Cairo, the university’s highest ranking religious leader, the Grand Imam, suddenly dies and Adam soon becomes a pawn in a ruthless power struggle between Egypt’s religious and political elite. Sweden’s Official Entry for Best International Feature Film at the 95th Academy Awards.
NOT RATED. CONTAINS VIOLENCE, BLOODY IMAGES, AND SEXUAL REFERENCES.
“It is an engrossing tale, full of betrayal and chicanery, and it casts the Egyptian political-military complex and the religious hierarchy as riddled with corruption.” – Michael O’Sullivan, Washington Post
“Saleh’s film works on many different levels because it’s a layered blend of various elements from different genres. He has crafted a spy thriller that succeeds as a coming-of-age narrative and can also be an entertaining film that keeps you captivated up until the final breathtaking moments.” – Jihane Bousfiha, The Playlist
“A deserving winner of the best screenplay at Cannes last year, this nail-biting drama is offset by Barhom’s terrific wide-eyed performance. The gorgon’s knot of political and religious machinations add distinctive hues to a genre piece with shades of All the President’s Men and The Name of the Rose.” – Tara Brady, Irish Times
Baseball-size hail, violent winds, and churning tornadoes make supercells deadly, and when William Brody was a boy, his father – a legendary storm-chaser – was killed by one. Now, the family business belongs to Zane Rogers (Alec Baldwin), a reckless tour operator who sees dollar signs where others see storm clouds. When his destiny arrives in the form of one of the most powerful storms on record, William leaves his mom (Anne Heche) and home behind to team up with his father’s ex-partner, Roy Cameron (Skeet Ulrich), barely surviving a tornado yet determined to chase one of nature’s most terrifying creations: the bear’s cage.
RATED PG-13 FOR LANGUAGE, SOME PERIL, AND SMOKING.
“Between the genuinely awe-inspiring storm effects and Corey Wallace’s rousing, old-fashioned score, Supercell feels like a cheaper but in some ways more heartfelt version of a ‘90s blockbuster.” – Noel Murray, Los Angeles Times
“Winterstern has a decent handle on William’s odyssey of family and future, and his replication of the Spielberg Experience is impressive, taking this study of destruction in a different direction.” – Brian Orndorf, Blu-ray.com
“It is well-thought-out, beautifully shot by Andrew Jeric (Sightless), and the actors, playing stock ‘types,’ add value with performances that land, even when characters are doing one of the ‘three things’ you should never risk in a tornado…” – Roger Moore, Movie Nation
Children of the Corn
Possessed by a spirit in a dying cornfield, a twelve-year-old girl in Nebraska recruits the other children in her small town to go on a bloody rampage and kill all the adults and anyone else who opposes her. A bright high schooler who won’t go along with the plan is the town’s only hope of survival.
RATED R FOR VIOLENCE AND BLOODY IMAGES.
“It could be a little bigger, a bit bolder, but this Children of the Corn is a marked improvement in quality from a number of the entries that came before.” – Jeff Ewing, Inverse
“This Children Of The Corn is no horror classic, but it is not bereft of ideas, and Kampouris and Moyer – the latter especially chilling – make this an often compelling watch.” – Daniel M. Kimmel, North Shore Movies
“Is this Children Of The Corn the best Stephen King adaptation ever? No, but it does what it sets out to do, and gives us more than we might be expecting.” – Abbie Bernstein, Assignment X
Operation Fortune: Ruse de Guerre
Super spy Orson Fortune (Jason Statham) must track down and stop the sale of a deadly new weapons technology wielded by billionaire arms broker Greg Simmonds (Hugh Grant). Reluctantly teamed with some of the world’s best operatives (Aubrey Plaza, Cary Elwes, Bugzy Malone), Fortune and his crew recruit Hollywood’s biggest movie star Danny Francesco (Josh Hartnett) to help them on their globe-trotting undercover mission to save the world.
RATED R FOR LANGUAGE AND VIOLENCE.
“It’s espionage executed with cheeky flair and playful sexiness, and it’s enlivened by Aubrey Plaza, who runs away with the show.” – Nick Schager, The Daily Beast
“Ritchie, working from a script he cowrote with Ivan Atkinson and Marn Davies, has taken all of this and transformed it into a movie that’s so clever and airy yet grounded, so sparkling with devil-may-care bravado, so poised right where you want it to be — a step ahead of the audience but also leading us right along — that it gives off the charge of a great screwball comedy.” – Owen Gleiberman, Variety
“Come to think of it, these are all great roles — for Statham, Plaza, and Hartnett. Everybody in Operation Fortune — yes, even Ritchie — seems to be having fun. Sometimes, that’s all you need.” – Bilge Ebiri, Vulture
A couple escapes their urban nightmare to the tranquility of rural Ireland only to hear stories of mysterious beings who live in the gnarled, ancient wood at the foot of their new garden. As warned by their new neighbors, in Irish lore the Redcaps will come when called to help souls in dire need of rescue, but it’s crucial to remember that there is always a dear price to pay for their aid.
RATED R FOR STRONG VIOLENCE AND GORE, PERVASIVE LANGUAGE, SOME DRUG USE, AND SEXUAL MATERIAL.
“Unwelcome will work its way into your heart, one tiny stab wound at a time.” – Michael Talbot-Haynes, Film Threat
“It’s the sort of tale that might be told over a few pints at the local pub, leaving the listeners skeptical, but still looking over their shoulders on the way home.” – Daniel M. Kimmel, North Shore Movies
“The movie always looks fun, even when it’s shredding the nerves of its characters and audience.” – Noel Murray, Los Angeles Times
Two estranged friends, Claire (Jane Fonda) and Evelyn (Lily Tomlin), reunite to seek revenge on the petulant widower (Malcolm McDowell) of their recently deceased best friend. Along the way, Claire reconnects with her great love (Richard Roundtree) as each woman learns to make peace with the past and each other.
RATED R FOR LANGUAGE.
“Moving On is yet another tour de force for Jane Fonda and Lily Tomlin, who once again prove that they are a force to be reckoned with.” – Maggie Lovitt, Collider
“An amusingly edgy geriatric comedy that provides that late career comic duo Jane Fonda and Lily Tomlin with their best star vehicle since Nine to Five.” – Roger Moore, Movie Nation
“If ‘lovely’ is not the first word you’d think would be used to describe a movie about attempted murder, then you haven’t seen Moving On, an amusing and bittersweet little tale of love, friendship and, yes, retribution.” – Gary Goldstein, Los Angeles Times
The Magic Flute
Tim (Jack Wolfe) has been dreaming his whole life about attending Mozart All Boys Music School, but already his first days there confront him with a hostile headmaster (F. Murray Abraham), the stresses of a first love, and serious doubts about the authenticity of his singing voice. When he discovers a mystical gateway in the school’s library, he is pulled into the fantastic cosmos of Mozart’s opera, The Magic Flute, where imagination has no limits and the Queen of the Night (Sabine Devieilhe) reigns.
NOT RATED. CONTAINS FANTASY VIOLENCE & PERIL, MILD LANGUAGE, AND THEMATIC MATERIAL.
“This Magic Flute has much to recommend and is a worthy, well-performed, often stirring and dazzling take on an enduring masterwork.” – Gary Goldstein, Los Angeles Times
“A fun and unique twist on the opera by Mozart of the same name that delivers epic fantasy and incredible music.” – Tessa Smith, Mama’s Geeky
“Emmerich knows how to make a movie, and he throws in everything that might appeal to kids here: big adventure, a hero’s quest, kid vs. giant creature, a silly sidekick, teen romance, triumphing over those who bully others, a princess, and magic.” – Tara McNamara, Common Sense Media
Last Film Show
Samay, a 9-year-old boy living with his family in a remote village in India discovers films for the first time and is absolutely mesmerized. Against his father’s wishes, he returns to the cinema day after day to watch more films, and even befriends the projectionist, who, in exchange for his lunch box, lets him watch movies for free. He quickly figures out that stories become light, light becomes films, and films become dreams. Samay and his wild gang of friends move heaven and earth to catch and project light to achieve a 35mm film projection. Together, they use an innovative hack and jubilantly succeed in making a film projection apparatus. But following your dreams often means leaving things behind.
“Bursting with life.” – Sheri Linden, Hollywood Reporter
“Cannily mixes the nostalgic celebration of movies like Giuseppe Tornatore’s Cinema Paradiso with the feel-good underdog trope of innumerable films best highlighted by Danny Boyle’s Slumdog Millionaire.” – Namrata Joshi, Screen Daily
“Last Film Show is as visually intoxicating (the glimpses of vibrantly colored films, the sight of meals simmering in herbs so gorgeous that you’ll swear you’ll smell the aroma) as it is thematically rich.” – Richard Whittaker, Austin Chronicle
Strangers wake in a mysterious room inscribed with an unfamiliar code. Looking for ways to escape, they discover the room is riddled with lethal traps, and as fear and distrust swirl around them, the group must work together to survive.
NOT RATED. CONTAINS VIOLENCE AND LANGUAGE.
“If you loved the original Cube movie, then you’ll definitely want to check out this one as well.” – Karina Adelgaard, Heaven of Horror
“Even with its changes to the original, Cube is a good horror film, offering up dramatic character moments that, when coupled with interesting effects work and the familiar setting, make it stand out.” – Kate Sánchez, But Why Tho?
“Shimizu and scribe Kôji Tokuo add some compelling wrinkles and cultural points of relevancy. They augment the more conventional routine of enter room, dodge trap, repeat.” – Chad Collins, Dread Central
The Ritual Killer
Unable to process the death of his daughter, Detective Boyd (Cole Hauser) embarks on the hunt for a serial killer who murders according to a brutal tribal ritual: Muti. The only person who can help Boyd is Professor Mackles (Morgan Freeman), an anthropologist who hides an unspeakable secret. The line between sanity and madness thins as Boyd goes deeper into the killer’s world.
NOT RATED. CONTAINS STRONG BLOODY VIOLENCE, STRONG LANGUAGE, AND THEMATIC CONTENT.
“While it seems on the surface to be a paint-by-numbers thriller, the numbers add up to something higher than usual.” – Michael Talbot-Haynes, Film Threat
I Propose We Never See Each Other Again After Tonight
Girl meets Boy. Girl loses Boy. Girl tries out some other boys. Girl gets original Boy back, but now she has a secret. Girl loses Boy again. Boys suck, Girl gets drunk at a party. A romantic comedy about love, and loss, and winter, and banana sauce.
NOT RATED. CONTAINS LANGUAGE AND SEXUAL CONTENT.
“The movie gets so, so close to achieving its goal of complete audience seduction and surrender, too. Right before it rips your heart out with a narrative turn that has to be seen to be (dis)believed.” – Barry Hertz, The Globe and Mail
“Much of the credit goes to Hera Nalam and Kristian Jordan, who play Iris and Simon with winning chemistry.” – Chris Knight, National Post
“No manic pixie dream girl, she keeps Iris’s emotions grounded, making her entirely relatable, especially in her battles with her disapproving mom. But Nalam has big-time, big-screen charm.” – Randall King, Winnipeg Free Press
Wallflower Lennon Gates (Sylvie Mix) yearns for access to the inner sanctum of the underground music scene in Columbus, Ohio. When she creates a podcast to interview the local artists she adores, Lennon discovers her own musical ambitions, develops a fast friendship with the striking, confident performer Bobbi Kitten, and in the process creates an identity not wholly her own. Soon, Lennon’s aspirations, with some constructive coaxing from Bobbi to find her voice, lead her down a path of dark obsession.
NOT RATED. CONTAINS STRONG LANGUAGE, SEXUAL REFERENCES, VIOLENCE, AND THEMATIC MATERIAL.
“At once polished and punky, Poser is about the maturing of a vampiric personality. Like its music, the movie feels exploratory and raw-edged, yet with a persistent pathos that clings to Lennon and isolates her.” – Jeannette Catsoulis, New York Times
“While the story beats may not be surprising, Poser still acts as an impressive debut for not only the directors but also Mix and Kitten, who create a simmering tension between them.” – Christian Gallichio, The Playlist
“The whole thing is oddly beautiful, absurdly compelling and even freakishly watchable. The general sensation of it approaches the out-of-place feeling of being at a party you don’t quite feel cool enough for. But since you’re already there, why not linger for a few drinks and embrace an intriguing ride outside your comfort zone?” – Tomris Laffly, Variety
An upstanding pastor uncovers a dark and twisted underworld as he searches for answers surrounding his daughter’s brutal murder.
NOT RATED. CONTAINS GRAPHIC VIOLENCE, SEXUAL CONTENT, STRONG LANGUAGE, THEMATIC MATERIAL, AND DRUG USE.
“A gritty, testosterone-fueled, grindhouse revenge thriller that raises moral and ethical questions with a complexity that’s surprising.” – Louisa Moore, Screen Zealots
“The Retaliators is a compelling addition to indie genre film and ultimately, a thrilling, bloody, rock and roll fable.” – Michelle Swope, Bloody Disgusting
“The Retaliators might well alarm some with its unusual stance on the subject matter, but there’s a lot here that’s served tongue-in-cheek, a lampooning of machismo and American bloodthirsty fantasy.” – Martyn Conterio, CineVue
Prim and proper Maria Barbizan (Susanne Wuest) unceremoniously walks away from her boring job, her inept husband, and her obnoxious daughter. Moments later, she is swept up in a bizarre contest alongside a handful of idiosyncratic characters, all competing for the chance to win true enlightenment… and one slightly used habanero-orange compact sport utility vehicle.
“God bless Canadian weirdos.” – Barry Hertz, The Globe and Mail
“With a firm commitment to its alluringly offbeat premise and a grounding lead performance from Susanne Wuest, this indie oddity is an enjoyable descent into the absurd despite an apparent lack of interest in answering most of the questions it raises.” – Michael Nordine, Variety
“There is a rare sense of purity and sincerity to Stanleyville that make it almost inexplicably enthralling, while still remaining very, very funny. One of the years hidden treasures, this is not to be missed.” – Alexandra Heller-Nicholas, AWFJ
The Devil Conspiracy
A powerful biotech company has breakthrough technology allowing them to clone history’s most influential people with just a few fragments of DNA. Behind this company is a cabal of Satanists that steals the shroud of Christ putting them in possession of Jesus’ DNA. The clone will serve as the ultimate offering to the devil. Archangel Michael comes to earth and will stop at nothing to end the devil’s conspiracy.
RATED R FOR STRONG VIOLENT CONTENT, SOME GORE, AND LANGUAGE.
“Is it a good movie? Not by any means. But is it fun? A hell to that yes.” – Randy Myers, San Jose Mercury News
“The movie is preposterous, and ludicrous, and heavy-handed, and patently absurd. Nevertheless, I enjoyed it precisely for those reasons.” – Mike McGranaghan, Aisle Seat
“Perhaps the best movie ever made about biotech Devil worshippers trying to clone Jesus.” – Chris Evangelista, /Film