Guardians of the Galaxy Vol. 3
Our beloved band of misfits are looking a bit different these days. Peter Quill, still reeling from the loss of Gamora, must rally his team around him to defend the universe along with protecting one of their own. A mission that, if not completed successfully, could quite possibly lead to the end of the Guardians as we know them.
RATED PG-13 FOR INTENSE SEQUENCES OF VIOLENCE AND ACTION, STRONG LANGUAGE, SUGGESTIVE / DRUG REFERENCES, AND THEMATIC ELEMENTS.
“[A] near perfect send-off… The Guardians movies continue to be the most inventive in the MCU, using their already off-the-wall premise to bring us consistently creative worlds, creatures, and characters.” – Sean Farrell, AFPL Journal
“A hilarious, heartbreaking, touching and rather wonderful close to an enjoyable trilogy.” – Brian Truitt, USA Today
“Guardians of the Galaxy Vol. 3 mixes Gunn’s usual wacky action and laugh-out-loud humor with a grounded, emotional story to create something special.” – Molly Freeman, Screen Rant
The Flash
Worlds collide in The Flash when Barry uses his superpowers to travel back in time in order to change the events of the past. But when his attempt to save his family inadvertently alters the future, Barry becomes trapped in a reality in which General Zod has returned, threatening annihilation, and there are no Super Heroes to turn to. That is, unless Barry can coax a very different Batman out of retirement and rescue an imprisoned Kryptonianโฆ albeit not the one heโs looking for. Ultimately, to save the world that he is in and return to the future that he knows, Barryโs only hope is to race for his life. But will making the ultimate sacrifice be enough to reset the universe?
RATED PG-13 FOR SEQUENCES OF VIOLENCE AND ACTION, SOME STRONG LANGUAGE, AND PARTIAL NUDITY.
“This feels like the definitive Flash movie.” – Mike Ryan, Uproxx
“DC finds itself at a bit of a crossroads. Yet that timing makes it all the more impressive to see how The Flash has managed to click on all cylinders, pay respect to the companyโs past while achieving the kind of balance that could and perhaps should point the way to its future.” – Brian Lowry,ย CNN
“Set to be one of the final entries in what we know as the DCEU, this is also one of the best, a witty and warm buddy comedy that deserves to be more than just a Flash in the pan.” – Chris Hewitt, Empire
1923: Season 1
The second prequel to Yellowstone follows Jacob (Harrison Ford) and Cara Dutton (Helen Mirren) as their family faces challenges such as pandemics, a drought, the end of Prohibition and the Great Depression in 1920s Wyoming.
RATED TV-MA. CONTAINS STRONG LANGUAGE THROUGHOUT, BLOODY VIOLENCE, SEXUAL CONTENT, NUDITY, AND SMOKING.
“Just take it on its own merits and itโs a classy product… Ford and Mirren have a comfortable chemistry as husband and wife.” – Anita Singh, The Telegraph
“Mirren and Ford โ both 80-ish, neither a stranger to action badassery โ make for such a potent pairing, their chemistry alone is enough to make 1923 feel like an elevated version of Sheridanโs neo-Western fare.” – Joshua Alston, Variety
“Just based on the premiere, 1923 is an ambitious undertaking with a ton of potential that will give fans of Yellowstone a series that at times feels familiar and other times feels like it’s expanding what Yellowstone can be.” – Liam Matthews, TV Guide
The Blackening
A group of Black friends reunite for a Juneteenth weekend getaway only to find themselves trapped in a remote cabin with a twisted killer. Forced to play by his rules, the friends soon realize this ainโt no motherf****** game.
RATED R FOR PERVASIVE LANGUAGE, VIOLENCE, AND DRUG USE.
“The Blackening is tense, funny, and thoughtful. Itโs a miracle when any movie expertly hits that hat trick but even more so when it does it with this much confidence.” – Marcus Shorter, Consequence
“With the ensemble cast doing superb work, The Blackening is a horror comedy that packs a serious punch.” – Richard Roeper, Chicago Sun-Times
“The Blackening comes with a horror movieโs requisite skittish and stalking camerawork, its creaks and breath-holding hushes, its gore and payback. But it is the friendsโ flee, fight, freeze โ or throw under the bus โ banter that makes the film provocative fun.” – Lisa Kennedy, New York Times
You Hurt My Feelings
A novelist’s longstanding marriage is suddenly upended when she overhears her husband giving his honest reaction to her latest book.
RATED R FOR LANGUAGE.
“The summer season rarely has room for a nice, adult comedy like You Hurt My Feelings. It is counter-programming of the finest order and one of the yearโs best films.” – Odie Henderson, Boston Globe
“Louis-Dreyfus, making Beth neurotic and loving and devastated and furious all at once, is a joy to watch.” – Moira Macdonald, Seattle Times
“On the surface, the plot is simple, but the nuances, keen observations, silences between words, the humanity of it all, and the ease with which the filmmaker effortlessly navigates turbulent currents subtly transform the feature into a complex drama. There are no heroes or villains, no good or bad people, just folks trying to figure themselves and each other out.” – Alex Saveliev, Film Threat
About My Father
Sebastian (Sebastian Maniscalco) is encouraged by his fiancรฉe (Leslie Bibb) to bring his immigrant, hairdresser father, Salvo (Robert De Niro), to a weekend get-together with her super-rich and exceedingly eccentric family (Kim Cattrall, Anders Holm, Brett Dier, David Rasche). The weekend develops into what can only be described as a culture clash, leaving Sebastian and Salvo to discover that the great thing about family is everything about family.
RATED PG-13 FOR SUGGESTIVE MATERIAL, LANGUAGE, AND PARTIAL NUDITY.
“Secure in his standing as a marquis comedian, Maniscalco makes movies like a guy with nothing to prove, and his confidence buoys and brightens About My Father.” – Judy Dry, IndieWire
“Maniscalco has built himself a very large and dedicated following through his work in stand-up, and with About My Father, he’s finally able to bring his jokes to the big screen in a way that will please his fans but also garner him some new loyal followers as well.” – Nate Richard, Collider
“Maniscalco hasnโt quite proven he can carry a movie thatโs not inspired by or ‘about’ him, but this first effort is charming and earnest enough to encourage viewers to meet him where heโs currently at in his career.” – Todd Gilchrist, Variety
No Hard Feelings
On the brink of losing her childhood home, Maddie (Jennifer Lawrence) discovers an intriguing job listing: wealthy helicopter parents looking for someone to โdateโ their introverted 19-year-old son, Percy, before he leaves for college. To her surprise, Maddie soon discovers the awkward Percy is no sure thing.
RATED R FOR SEXUAL CONTENT, LANGUAGE, SOME GRAPHIC NUDITY, AND BRIEF DRUG USE.
“No Hard Feelings is a welcome addition to a dwindling genre โ and a reminder that Lawrence is one Hollywood’s best (and funniest) leads.” – Devan Coggan, Entertainment Weekly
“Lawrence flexes her comedy muscles in both her dialogue and physical comedy, taking some bold swings with some of the things she does on screen, and it pays off extremely well.” – Nate Richard, Collider
“I love the chemistry between Lawrence and Feldman. The comedy is funny and unafraid, and importantly, it has a heart and emotion that works. We need more movies like No Hard Feelings.” – Jason Delgado, Film Threat
BlackBerry
The โtrue storyโ of the meteoric rise & catastrophic demise of the worldโs first smartphone, BlackBerry is a whirlwind ride through a ruthlessly competitive Silicon Valley.
RATED R FOR LANGUAGE THROUGHOUT.
“With BlackBerry, Johnson manages to craft a thrilling and moving story about friendship, pride, and the brutality of the free market.” – Marco Vito Oddo, Collider
“BlackBerry is funny, fast and nerve-rattling. And it is always โ always โ intensely entertaining.” – Barry Hertz, The Globe and Mail
“With a good deal of zippy snark ร la The Social Network and a sense of deadpan comedy straight from the Succession playbook, BlackBerry is the kind of mid-budget marvel that doesnโt seem to come around often anymore.” – Steph Green, IndieWire
The Machine
Set 23 years after the original story which inspired it, The Machine finds Bert Kreischer facing familial crisis and the arrival of his estranged father (Mark Hamill) when the ghost of his booze-soaked past arrives: a murderous mobster (Iva Babiฤ) hellbent on kidnapping Bert back to the motherland to atone for his crimes. Together, he and his father must retrace the steps of his younger self (Jimmy Tatro) in the midst of a war between a sociopathic crime family while they attempt to find common ground.
RATED R FOR STRONG VIOLENCE, PERVASIVE LANGUAGE, DRUG USE, AND SOME SEXUAL REFERENCES.
“Itโs a wacky and raucous good time.” – Sean Collier, Pittsburgh
“Nothing about this comedy shouldโve worked and it definitely shouldnโt have ended up being as entertaining as it actually is, but here is one of those rare success stories where a little movie plays to its strengths and comes out on top.” – Louisa Moore, Screen Zealots
“The Machine is loud, gross, obnoxious and overbearing. Itโs also disarming, quick-witted, fast moving and becomes increasingly funny.” – Todd McCarthy, Deadline
Monster High: The Movie
Monster High: The Movie follows Clawdeen Wolf (Miia Harris, Just Beyond), who was born half human and half werewolf, after she arrives at her new school, Monster High. She quickly makes friends with her classmates Frankie Stein (Ceci Balagot, Dispatches from Elsewhere) and Draculaura (Nayah Damasen, Grey’s Anatomy), and for the first time in her life, Clawdeen feels like she has finally found a place where she fits in and can truly be herself, despite keeping her human half a secret. When a devious plan to destroy Monster High threatens to reveal her real identity, Clawdeen must learn to embrace her true monster heart and find a way to save the day alongside her new friends.
RATED TV-PG. CONTAINS BRIEF VIOLENT IMAGERY.
“Between all the magic and mayhem and singing and dancing and general spooky revelry in Monster High, thereโs all kinds of good lessons about accepting ourselves and each other, exactly as we are.” – Heather Hogan, Autostraddle
“Catchy songs and fun dance numbers make this musical something the whole family can enjoy. A great way to teach kids about inclusion and acceptance.” – Tessa Smith, Mama’s Geeky
“It retreads familiar themes from high school musicals that came before, but the spooky twist adds a fun layer that could make an excellent gateway for a budding monster kid.” – Meagan Navarro, Bloody Disgusting
Sanctuary
Rebecca (Margaret Qualley), and her wealthy client, Hal (Christopher Abbott), engage in a high stakes role playing game for power and control. In the wake of inheriting his fatherโs hotel chain, Hal attempts to end his long and secret relationship with Rebecca. A battle of wills ensues over the course of one incredibly fraught night, with both Rebecca and Hal struggling to keep the upper hand as the power dynamics swing wildly back and forth.
RATED R FOR SEXUAL CONTENT AND LANGUAGE.
“Margaret Qualley and Christopher Abbott make an exceptionally good team here, in a film that requires a deep sexual chemistry but keeps sex itself almost entirely out of the picture. Careening from one kind of intensity to another, the encounter excites without prurience and, like the transactions it depicts, is more concerned with psychology than sex in any case.” – John DeFore, Hollywood Reporter
“The writing (by Micah Bloomberg, a creator of the 2018-20 TV series Homecoming) is so sharp, the acting so agile and the cinematography (by Ludovica Isidori) so inventive that what could have been a stuffy experiment in lockdown filmmaking is instead a vividly involving battle of wills.” – Jeannette Catsoulis, New York Times
“This is a film fueled by writing and performance. Writer Micah Bloombergโs script ingeniously incorporates the movieโs themes into its structure, and Qualley and Abbottโbut especially Qualleyโplayfully keep the audience guessing throughout.” – Katie Rife, RogerEbert.com
You Are Not My Mother
Itโs the week before Halloween. Charโs bedridden mother, Angela, has mysteriously gone missing. All that remains is her abandoned car parked in the middle of a field. When Angela returns home to their North Dublin estate the following evening without explanation, it becomes clear to Char and her grandmother, Rita, that something is amiss. She might look and sound the same, but Angelaโs behavior has become increasingly erratic and frightening, as if she has been replaced by a malevolent force. As Halloween approaches, a night steeped in ancient Irish myth and legend, Char must unearth the dark secrets of her family in order to uncover the truth behind her mother’s disappearance and save her, even if it means potentially losing her forever.
NOT RATED. CONTAINS STRONG LANGUAGE, MILD VIOLENCE, BLOODY IMAGES, DRUG USE, AND THEMATIC CONTENT.
“You Are Not My Mother burrows underneath the nerves and stays there. It accomplishes this thanks to the amazing cast and strong visuals, which are ideally suited to the intense material.” – Bobby LePire, Film Threat
“Imaginative and spooky, You Are Not My Mother shows just how frightening โ and stigmatizing โ a parentโs mental illness can be to a child.” – Jeannette Catsoulis, New York Times
“Steeped in local folklore, it lets mythic and mind-based terrors exist side by side, allowing the viewer to interpret and believe what they will. This leeway comes at no cost, however, to its effective atmospherics, which sink into the bones like an unexpected twilight chill.” – Guy Lodge, Variety
Maggie Moore(s)
When two women with the same name are murdered days apart, small-town police chief Jordan Sanders (Jon Hamm) finds himself wading through an unlikely collection of cheating husbands, lonely hearts, nosy neighbors and contract killers in an effort to put the pieces of the case, and his life, together.
RATED R FOR LANGUAGE THROUGHOUT, VIOLENCE, SOME SEXUAL MATERIAL, BRIEF NUDITY, AND DRUG USE.
“Maggie‘s crackling cast, including Tina Fey and Nick Mohammed, handles the clever dialogue with aplomb.” – Richard Roeper, Chicago Sun-Times
“Its quirky and ill-fated characters share DNA with a more whimsical version of a Coen Brothers film. The clever dialogue โ which perfectly complements the natural chemistry between Hamm and Fey โ and the simplicity of the story makes this an easy watch.” – Mark Johnson, Awards Daily
“Hamm is by far the standout. While it may rest on its novelty and the cohesion of its cast, that doesnโt change the fact that Maggie Moore(s) has a spark, and Slattery has a hell of a directorial future.” – Kristy Strouse, Film Inquiry
The Wrath of Becky
Two years after she escaped a violent attack on her family, Becky attempts to rebuild her life in the care of an older woman – a kindred spirit named Elena. But when a group known as the โNoble Menโ break into their home, attack them, and take her beloved dog, Diego, Becky must return to her old ways to protect herself and her loved ones.
RATED R FOR STRONG BLOODY VIOLENCE AND GORE, PERVASIVE LANGUAGE, AND SOME SEXUAL REFERENCES.
“The Wrath of Becky is delightfully violent, very silly and a whole lot of fun.” – Alexandra Heller-Nicholas, AWFJ.org
“Becky is back and more deadly than ever โ and we love her for it. The Wrath of Becky sees Lulu Wilson return as the titular character in a bloody revenge thriller that improves upon the original while leaving the audience yearning for more.” – Samantha Coley, Collider
“The Wrath of Becky delivers satisfying action, as this underestimated heroine makes some terrible people look like absolute fools.” – Noel Murray, Los Angeles Times
Cicada
After a string of unsuccessful and awkward encounters with women, Ben goes back to dating men. Cicada follows him as he comes out to the world and develops an intense relationship with Sam, a man of color struggling with deep wounds of his own. As the summer progresses and their intimacy grows, Benโs past crawls to the surface.
NOT RATED. CONTAINS SEXUAL CONTENT, NUDITY, STRONG LANGUAGE, AND THEMATIC MATERIAL.
“The absorbing romantic drama Cicada feels as real as it gets.” – Gary Goldstein, Los Angeles Times
“Told with tenderness and honesty, Cicada is a treatment of trauma that does not judge or preach or take sides, but, in building to its breathless crescendo, goes to show just how much courage it takes to confront the past in order to look to the future.” – Matthew Anderson, Cinevue
“What makes Cicada stand a little taller than the rest is its naturalism, a palpable authenticity coloring nearly every scene.” – Steven Warner, In Review Online
Hinterland
The year is 1920. The Austro-Hungarian Empire has fallen and what remains has devolved into social unrest and political turmoil. Peter Perg, a soldier of the Great War, returns to Vienna only to realize the place he once called home is now unfamiliar to him. Having spent years as a prisoner of war, Perg is disillusioned by this strange, new city distorted by the nightmares of war. His world is further upended when a gruesome series of murders targeting veterans begins to unfold. Feeling connected to the victims, Perg decides to investigate the mysterious crimes. A stranger in his own city, the looming threat of a serial killer begins to take its toll on him.
NOT RATED. CONTAINS VIOLENCE, LANGUAGE, AND DISTURBING CONTENT.
“The acting is as immaculate as the digitally-augmented settings.” – Roger Moore, Movie Nation
“Its complicated story, hero, and visual style are a great reminder of the beautiful thrillers birthed during the Golden Age of Hollywood, albeit with the help of modern technology to pull it off with a modest indie budget.” – Alan Ng, Film Threat
“It takes a little while to adjust to the filmโs strong and deliberately oppressive stylistic approach, but Hinterland successfully avoids being swallowed up by its own aesthetic via the narrativeโs propulsive momentum and the magnetic central performance by Muslu.” – Neil Young, Screen Daily
Forty Winks
A struggling hypnotist deals with his monotonous day-to-day life, until he is blackmailed into being the world’s first hypnotist hit man after a mysterious woman finds out his degree is fake.
NOT RATED. CONTAINS STRONG LANGUAGE AND VIOLENCE.
“It’s impressive someone so young can make on his own such a competent film.” – Dennis Schwartz, Dennis Schwartz Movie Reviews
“Sarandon and Turturro are fantastic acting against lead McManus. But money canโt buy the indie guerrilla filmmaking charms that ooze all over Parkerโs film.” – Alan Ng, Film Threat
“Even without knowing director Will Parker’s backstory (or the fact he was 17 at the time of production), Forty Winks is a good example of creative filmmaking in the micro-budget space.” – Evan Dossey, Midwest Film Journal
Four Quartets
During the early days of COVID, Ralph Fiennes set himself the challenge of committing T. S. Eliot’s Four Quartets to memory, and in 2021 he brought it to the London stage followed by a tour of theaters across the UK. Written by Nobel Prize winner Eliot in the shadow of the Second World War, the poem is a searching examination of who โ and what โ we are. This celebrated meditation on human experience, time, and the divine offers up questions, imagery, and emotions that bear a powerful relevance to our present day.
NOT RATED.
“Four Quartets is a special experience.” – Calan Panchoo, Film Threat
“For those who are open to its challenges, it is a meditation on time, loss, and connection, and almost a century later, those themes are just as vital as they were when Eliot wrote them.” – Nell Minow, RogerEbert.com
“Unabashedly theatrical in presentation but broken up with interludes of nature, this Four Quartets is a multi-course feast of concentrated flavors: mesmerizing language, masterly invocation, and the kind of poetic imagery that in the hands of a great actor feels like a direct line from Eliotโs pen to our mindโs landscape.” – Robert Abele, Los Angeles Times
Dylan & Zoey
Estranged friends reunite for one evening to try and bridge the gap that has divided them for so long.
NOT RATED. CONTAINS LANGUAGE, SEXUAL CONTENT, AND THEMATIC MATERIAL.
“The film deserves credit for its nuanced exploration of sexual trauma, showing us characters who are both burdened by it yet seem to adjust their coping mechanisms by the minute.” – Christian Zilko, IndieWire
“Acting coaches should take a look at Dylan & Zoeyโs bathroom monologue sceneโฆ this is the type of cinema that Iโm always looking for.โ – Q.V. Hough, Vague Visages
“โฆitโs a tiny, sensitive story of two friends trying to help each other and themselves, a minor gem thatโs a balm for those seeking intelligent, modern charactersโฆ” – Eddie Harrison, film-authority.com
Dreams on Fire
After running away from home to become a dancer in Tokyo, Yume (Bambi Naka) struggles against the harsh realities of what it takes to achieve success. She works as a hostess in the red-light district while taking dance lessons and refuses to abandon her ambitions.
NOT RATED. CONTAINS STRONG LANGUAGE, SEXUAL CONTENT, AND THEMATIC MATERIAL.
“An astonishing audiovisual explosion and an exploration of the dance subculture in Japan.” – Ricardo Gallegos, La Estatuilla
“The vibey EDM aesthetic and electrifying narrative make Dreams on Fire a hot watch.” – Morgan Rojas, Cinemacy
“Dreams on Fire transports you out of your boring living room and into the Tokyo nightlife. For that, I truly enjoy it.” – Lorry Kikta, Film Threat
Tommy Guns
In 1974, after years of civil war, the Portuguese and their descendants fled the colony of Angola where independentist groups gradually claimed their territory back. Tommy Guns gives a dual perspective on this struggle: a tribal girl who discovers love and death when her path crosses that of a young Portuguese soldier; and a group of Portuguese soldiers who are barracked inside an infinite wall from which they will have to escape once the past comes out of the grave to claim its long awaited justice.
NOT RATED. CONTAINS GRAPHIC VIOLENCE, STRONG LANGUAGE, AND THEMATIC CONTENT.
“In its rich visual vocabulary and control of complex tonal gambits, Tommy Guns is a daring, distinctive work of art.” – Dennis Harvey, 48 Hills
“Tommy Guns builds, strangely, sneakily, to a parable of despair at the (predominantly masculine) mass delusion that is war itself.” – Jessica Kiang, Sight & Sound
“Conceiรงรฃo has created a smart, strange film that is disjointed because colonialism is a thing of disjointed desires, histories, and deaths.” – Noah Berlatsky, Chicago Reader
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