Oppenheimer
The story of American scientist J. Robert Oppenheimer and his role in the development of the atomic bomb.
RATED R FOR SOME SEXUALITY, NUDITY, AND LANGUAGE.
“The cumulative effect is so stunning and antithetical to anything Hollywood is doing at the moment – the equally audacious Barbie aside – that it feels like a completely different art form. And, frankly, hallelujah for that.” – Phil de Semlyen, Time Out
“Oppenheimer is a towering achievement not just for Nolan, but for everyone involved. It is the kind of film that makes you appreciative of every aspect of filmmaking, blowing you away with how it all comes together in such a fitting fashion.” – Ross Bonaime, Collider
“Simultaneously a biography, a mystery, a polemic, and a dense character study, Oppenheimer feels like the film Christopher Nolan has been preparing to make his entire career, and it may very well be his best work.” – Dylan Roth, Observer
Sound of Freedom
After rescuing a young boy from ruthless child traffickers, a federal agent learns the boy’s sister is still captive and decides to embark on a dangerous mission to save her. With time running out, he quits his job and journeys deep into the Colombian jungle, putting his life on the line to free her from a fate worse than death. Based on a true story.
RATED PG-13 FOR THEMATIC CONTENT INVOLVING SEX TRAFFICKING, VIOLENCE, LANGUAGE, SEXUAL REFERENCES, SOME DRUG REFERENCES, AND SMOKING THROUGHOUT.
“This is a genre thriller. That said, it’s an urgent and honest one, and Caviezel gives his most committed performance since The Passion of the Christ.” – Owen Gleiberman, Variety
“As a movie, Sound of Freedom is powerful, almost too powerful… It’s heartfelt, informative, and inspiring. Go see this movie.” – Alan Ng, Film Threat
“There’s a good reason why this film has managed to carve out significant space in the summer box office marketplace – it’s effective.” – Aaron Neuwirth, We Live Entertainment
The White Lotus: Season 2
The satirical limited series created by Mike White gradually reveals the truth behind the seemingly perfect guests and staff at an exclusive Hawaiian resort over the course of a week.
RATED TV-MA. CONTAINS NUDITY, STRONG SEXUAL CONTENT, STRONG LANGUAGE THROUGHOUT, DRUG USE, VIOLENCE, AND THEMATIC MATERIAL.
“As rich, complex and satisfying a comedy-drama as you could hope. Enjoy another five-star stay in this luxury place.” – Lucy Mangan, The Guardian
“In Season 2, he [Mike White] doesn’t just recreate the magic of the first installment, but he stretches his own creative muscles. The White Lotus Season 2 is a resounding triumph.” – Meghan O’Keefe, Decider
“White has once again produced something as heady and intoxicating as it is sour and unsettling. This is another dose of self-sabotaging lurid luxury that makes helpless, gleeful voyeurs of us all.” – Rachel Sigee, i
Saw X
John Kramer (Tobin Bell) is back. The most disturbing installment of the Saw franchise yet explores the untold chapter of Jigsaw’s most personal game. Set between the events of Saw I and II, a sick and desperate John travels to Mexico for a risky and experimental medical procedure in hopes of a miracle cure for his cancer – only to discover the entire operation is a scam to defraud the most vulnerable. Armed with a newfound purpose, the infamous serial killer returns to his work, turning the tables on the con artists in his signature visceral way through devious, deranged, and ingenious traps.
RATED R FOR SEQUENCES OF GRISLY BLOODY VIOLENCE AND TORTURE, LANGUAGE, AND SOME DRUG USE.
“By cleverly setting its timeline between the series’ first two installments, Saw X is both an invigorating thrill ride on par with the franchise’s best entries and a trenchant, timely charge against industrial systems set in place to keep humans sick.” – Coleman Spilde, The Daily Beast
“Fans who tune in mainly for the insane timeline twists won’t get them, but otherwise, this is the most satisfying Saw installment since the first three. Also, be sure to stick around for a mid-credits scene.” – Luke Y. Thompson, The A.V. Club
“Almost 20 years into the franchise, Saw X showcases an emotional depth that manages to take one of these stories higher than ever before. Make no mistake, though, the traps are still on full display and Jigsaw still has full intent to showcase the true evils of humanity.” – Amelia Emberwing, IGN
The Equalizer 3
Since giving up his life as a government assassin, Robert McCall (Denzel Washington) has struggled to reconcile the horrific things he’s done in the past and finds a strange solace in serving justice on behalf of the oppressed. Finding himself surprisingly at home in Southern Italy, he discovers his new friends are under the control of local crime bosses. As events turn deadly, McCall knows what he has to do: become his friends’ protector by taking on the mafia.
RATED R FOR STRONG BLOODY VIOLENCE AND SOME LANGUAGE.
“This is a great hour and 49 minutes of action film.” – Benjamin Franz, Film Threat
“It’s a great excuse to watch Washington be a Movie Star in the most natural and unfiltered way. If this is the last of this duo’s brand-name vigilante thrillers, at least it’s going out on a properly pulpy high note.” – David Fear, Rolling Stone
“The Equalizer 3 is a remarkably stylish entry in the series, elevating a barebones story with Washington’s gravitas and Richardson’s uncanny cinematography. All things being equal(ized), it’s a relatively satisfying thriller.” – William Bibbiani, The Film Verdict
Gran Turismo
Based on the true story of Jann Mardenborough, the film is the ultimate wish fulfillment tale of a teenage Gran Turismo player whose gaming skills won a series of Nissan competitions to become an actual professional racecar driver.
RATED PG-13 FOR INTENSE ACTION AND SOME STRONG LANGUAGE.
“Gran Turismo is a beautiful looking film. Jacques Jouffret photographed it like the slickest car commercial you’ve ever seen, and Austyn Daines and Colby Parker Jr. edited us right into and inside the race cars and the races recreated here. It plays. It’s also damned entertaining. Don’t let anybody tell you otherwise.” – Roger Moore, Movie Nation
“There’s an innocence to this one, and a surprise authenticity. It’s like a Fast and Furious movie made without cynicism, and it gets to you.” – Owen Gleiberman, Variety
“Gran Turismo, a spectacular new racing film from the Oscar-nominated writer and director Neill Blomkamp, wisely sidesteps the pitfalls of many dreadful screen outings (often from the perennial game-ruiner Uwe Boll) by finding a big-hearted human-interest story to better explore the racing environment.” – Tara Brady, The Irish Times
WandaVision: Season 1
Wanda Maximoff (Elizabeth Olsen) and Vision (Paul Bettany) are living in the suburban town of Westview and trying to hide their powers, but they soon begin to suspect something is up when life begins mirroring classic TV shows.
RATED TV-PG. CONTAINS MILD VIOLENCE, SEXUAL REFERENCES, MILD LANGUAGE, AND THEMATIC CONTENT.
“Impeccably and cleverly crafted as a mashup of the otherworldly and the nostalgic, this insanely entertaining fantasia works on so many weird levels it doesn’t matter if you’re as confused as its principal players.” – Matt Roush, TV Guide
“WandaVision is primarily designed with MCU fans in mind, though casual viewers can more or less jump right in with no prior knowledge. (Everyone on this show is confused, too, so that helps.) But don’t let the show’s outside-the-box approach worry you: Yes, WandaVision is unlike anything Marvel has done before — but it turns out that’s a very good thing.” – Rebecca Iannucci, TV Line
“There are trappings of truth everywhere, and while viewers can spot them easily, Wanda remains willfully ignorant. It is absolutely devastating to see her spinning as fast as she can to keep this all in place, to stay ahead of her trauma, when we know that ultimately it won’t change anything… WandaVision’s core conceit—that sometimes you just want to escape into television, into fantasy, into a daydream—couldn’t be more meta.” – Allison Keene, Paste
The Nun II
1956 – France. A priest is murdered. An evil is spreading. The sequel to the worldwide smash hit follows Sister Irene as she once again comes face-to-face with Valak, the demon nun.
RATED R FOR VIOLENT CONTENT AND SOME TERROR.
“If The Conjuring Universe is a horror force you want to believe in again, then The Nun II will bring you back to the faith.” – Alison Foreman, IndieWire
“With its tight script, well-balanced characters, and bone-chilling scares, The Nun II is the first Conjuring spinoff operating at the same caliber as the franchise’s core films, proving that this universe is far from played out.” – Samantha Coley, Collider
“The Nun II is a marked improvement on its predecessor, as the winning duo of Taissa Farmiga and Jonas Bloquet reward the faith of Conjuring fans with a scarier, meatier boarding school nightmare that makes great use of Valak the Demon Nun, even if the mythology-heavy plot specifics get a little lost along the way.” – Tom Jorgensen, IGN
The Quiet Girl
Rural Ireland. 1981. Nine-year-old Cait is sent away from her overcrowded, dysfunctional family to live with foster parents for the summer. Quietly struggling at school and at home, she has learned to hide in plain sight from those around her. She blossoms in their care, but in this house where there are meant to be no secrets, she discovers one painful truth.
RATED PG-13 FOR SOME STRONG LANGUAGE AND SMOKING.
“This beautiful and compassionate film from first-time feature director Colm Bairéad, based on the novella Foster by Claire Keegan, is a child’s-eye look at our fallen world; already it feels to me like a classic.” – Peter Bradshaw, The Guardian
“Gorgeously realized and crafted with homespun care, this delicate and heartbreaking drama is one of the year’s best films.” – Kevin Jagernauth, The Playlist
“The Quiet Girl is, quite simply, a genuine work of art by a genuinely empathetic artist, and one of the single most moving, heartfelt, and heartbreaking movies from any country in the last decade.” – David Fear, Rolling Stone
Grease: Rise of the Pink Ladies
The television musical prequel to Grease is set in 1954 as four Rydell High outsiders form the Pink Ladies.
RATED TV-14. CONTAINS LANGUAGE, SEXUAL REFERENCES, THEMATIC MATERIAL, AND DRUG USE.
“The feeling you have after getting halfway through Grease: Rise of the Pink Ladies is that you just want to spend more time with those girls, and you almost wish 22-episode seasons were still a thing so you could watch the characters existing in this world for as long as possible.” – Erick Massoto, Collider
“Rising to the occasion, the show gives high-school life in the ’50s groove and meaning, in a way that’s as slick as it is fun.” – Brian Lowry, CNN
“And though its messaging can be didactic at times, Pink Ladies never feels like a chore. In fact, it’s a wall-to-wall blast.” – Jenna Scherer, The A.V. Club
For All Mankind: Season 1
The sci-fi series from Ronald D. Moore set in an alternate universe where the USSR had landed on the moon first and NASA continues the space race with a group of astronauts that include Edward Baldwin (Joel Kinnaman).
RATED TV-MA. CONTAINS STRONG LANGUAGE, VIOLENCE, DISTURBING IMAGES, SEXUAL REFERENCES, AND DRUG USE.
“For All Mankind is doing so much right with astronaut fiction—grounding it in mundane lives and historicity, while separating it from its big names and dates enough to reach for something more profound than documentary—that minor bumps only rattle the otherwise smooth ride in an exceptional craft. For All Mankind pursues greatness, succeeds, and plants an Apple flag for the world to see.” – Jacob Oller, Paste
“It takes a while for it to come together, and for us to feel the distinctions and quirks of characters who initially appear to be cardboard 1960s straights. But what at first seems to wander a bit ultimately finds its target and lands.” – Matthew Gilbert, Boston Globe
“The show ostensibly stars Joel Kinnaman as a Serious Astronaut Man, but the story becomes far more compelling when other characters take the lead. Episode 3 introduces a group of female astronaut trainees who make the series sing.” – Kelly Lawler, USA Today
It Lives Inside
Sam is desperate to fit in at school, rejecting her Indian culture and family to be like everyone else. When a mythological demonic spirit latches onto her former best friend, she must come to terms with her heritage in order to defeat it.
RATED PG-13 FOR TERROR, VIOLENT CONTENT, BLOODY IMAGES, BRIEF STRONG LANGUAGE, AND TEEN DRUG USE.
“Proving her own star quality, a committed Suri guides Sam through a journey of identity and final-girl heroics that brings satisfying healing to her strained relationship with her mother.” – Jen Yamato, Los Angeles Times
“It’s a promising debut from Dutta, who offers a fresh premise that proves a natural fit for the genre.” – Brandon Yu, New York Times
“It Lives Inside at least isn’t just another mainstream horror weepy about grief – there’s a lot more that it’s playing around with, which is so refreshing in a time where horror is either extremely insane for the purposes of camp or about extremely damaged people who should just go to therapy. It’s nice to see a spooky movie that is having fun with a new box of tools.” – Jenny Nulf, Austin Chronicle
The Miracle Club
In 1967, three generations of close friends, Lily (Maggie Smith), Eileen (Kathy Bates), and Dolly (Agnes O’Casey) of Ballygar, a hard-knocks community in Dublin, have one tantalizing dream: to win a pilgrimage to the sacred French town of Lourdes, that place of miracles that draws millions of visitors each year. When the chance to win presents itself, the women seize it. However, just before their trip, their old friend Chrissie (Laura Linney) arrives in Ballygar for her Mother’s funeral, dampening their good mood and well-laid plans. The women secure tickets and set out on the journey that they hope will change their lives, with Chrissie joining in place of her mother. The glamor and sophistication of Chrissie, who has just returned from a nearly 40-year exile in the United States, are not her only difficult traits. Old wounds are reopened along the way, forcing the women to confront their pasts even as they travel in search of a miracle. Deep wounds from the past can only be healed by the curative power of love and friendship.
RATED PG-13 FOR THEMATIC ELEMENTS AND SOME LANGUAGE.
“An ensemble cast led by Maggie Smith, Kathy Bates and Laura Linney brings persuasive conviction to period heartwarmer The Miracle Club.” – Allan Hunter, Screen Daily
“The themes in The Miracle Club may be as old as time, but it beautifully celebrates the idea that friendship and compassion can be healing.” – Patrice Witherspoon, Screen Rant
“The Miracle Club won’t rock your world, but it’s a nice movie. There’s always a place for nice movies.” – Mick LaSalle, San Francisco Chronicle
Expend4bles
A new generation join the world’s top action stars for an adrenaline-fueled adventure in Expend4bles. Reuniting as the team of elite mercenaries, Jason Statham, Dolph Lundgren, Randy Couture, and Sylvester Stallone are joined for the first time by Curtis “50 Cent” Jackson, Megan Fox, Tony Jaa, Iko Uwais, Jacob Scipio, Levy Tran, and Andy Garcia. Armed with every weapon they can get their hands on and the skills to use them, The Expendables are the world’s last line of defense and the team that gets called when all other options are off the table. But new team members with new styles and tactics are going to give “new blood” a whole new meaning.
RATED R FOR STRONG/BLOODY VIOLENCE THROUGHOUT, LANGUAGE, AND SEXUAL MATERIAL.
“It took the franchise four tries, but with Expend4bles, they’ve finally made a solid and consistently effective action movie.” – Mick LaSalle, San Francisco Chronicle
“If Expend4bles turns out to be a swan song, it’s a fitting one, since it so neatly encapsulates the series’ formula.” – Jody Rosen, Slate
“Come for the blood, gore and one-liners — stay for a fun and touching plot twist at the end that I, for one, didn’t see coming.” – Dana Kennedy, AARP Movies for Grownups
The Sandman: Season 1
Morpheus/Dream (Tom Sturridge) escapes from a 100+ years sleep and seeks to revive his kingdom in this series adaptation of Neil Gaiman’s comic book series of the same name.
RATED TV-MA. CONTAINS GRAPHIC VIOLENCE, BLOODY IMAGES, SEXUAL CONTENT, NUDITY, SOME STRONG LANGUAGE, AND THEMATIC MATERIAL.
“It’s so good, so thought provoking and so wildly entertaining that I’ve already started watching it again.” – Alim Kheraj, i
“It’s to the show’s credit that it is able to translate the comic book’s lyrical but sometimes labyrinthine story to the screen in a way that feels natural and welcoming.” – Robert Brian Taylor, Collider
“With its attention to the source material, its impressive cast, and the kind of expansive world-building that surely demands more seasons, The Sandman is what dreams are made of.” – Richard Newby, Empire
The Innocent
When Abel learns that his mother is about to marry a man in prison, he freaks out. With the help of his best friend, he will do whatever it takes to protect her. But meeting his new stepfather may well offer him a new perspective.
NOT RATED. CONTAINS STRONG LANGUAGE, SEXUAL MATERIAL, BLOODY IMAGES, AND THEMATIC CONTENT.
“Few caper comedies have this much heart, and few romantic dramas offer such an appealingly nutty plot.” – Kyle Smith, Wall Street Journal
“Altogether, The Innocent is a relatively low stakes story of ordinary people doing humbly ridiculous if fairly illegal things – and all the more charming for it.” – Saskia Lloyd Gaiger, Little White Lies
“Garrel’s The Innocent deftly mixes comic family melodrama with genre thrills in this pacy, emotive thriller with a killer cast.” – Christopher Machell, CineVue
Simone: Woman of the Century
Simone Veil’s life story through the pivotal events of the 20th Century. Her childhood, her political battles, her tragedies. An intimate and epic portrait of an extraordinary woman who eminently challenged and transformed her era defending a humanist message still keenly relevant today.
NOT RATED. CONTAINS LANGUAGE AND DISTURBING CONTENT.
“…as inspiring as it is harrowing.” – Annette Basile, FilmInk
“Captivating, profoundly moving and empowering. A protest against hate and intolerance. Elsa Zylberstein anchors the film in a genuinely heartfelt performance.” – Avi Offer, NYC Movie Guru
“Simone: Woman of the Century is a call to keep memory alive and to use it as fuel to create a world in which exclusion and totalitarianism remain forever in the past.” – Amparo Cabal, EscribiendoCine
Friday Night Dinner: Seasons 1 – 5
It’s Friday night in the Goodman household and the family (a mum, dad and their two sons) sit down for their routine supper.
RATED TV-14. CONTAINS SEXUAL REFERENCES, DRUG REFERENCES, AND SOME STRONG LANGUAGE.
“The humor in Friday Night Dinner is often as surprising as it is rude. But there’s a spirit of good-natured goofball charm evident in this family whose members clearly love one another, quirks and all.” – Rob Owen, Pittsburgh Post-Gazette
“It’s a credit to Popper that the running gags seem fresh and funny every time, and that he can mine so much humor from a weekly dinner. But as long as he does, I’ll have the table set.” – Curt Wagner, RedEye
The Unknown Country
Reeling from a devastating loss, Tana (Lily Gladstone) is pulled back into the world by an unexpected invitation to her cousin’s wedding. She packs up her late grandmother’s Cadillac and hits the open road, driving from her home in Minnesota to South Dakota. After reconnecting with her Oglala Lakota family, Tana sets off to retrace a surreal journey that her grandmother took decades ago, searching for the spot captured in an old family photograph. As she travels, Tana finds connection in the stories of everyday people who’ve settled down far off the main roads including Isaac (Raymond Lee), who provides a pivotal clue to understanding the lost location that could cultivate closure.
NOT RATED. CONTAINS LANGUAGE AND THEMATIC MATERIAL.
“You don’t watch the movie. You experience it through your senses.” – Sheila O’Malley, RogerEbert.com
“While the stirring visual fluidity of The Unknown Country, her first fiction feature and a kindhearted triumph, provides further arguments pointing to Malick likely being an influence, what distinguishes Maltz’s approximation to that style of evocatively loose filmmaking is that it’s grounded on the personal victories of real individuals. Based on that, she forges eclectic narrative devices for a tone poem with substantial dramatic meat on its bones.” – Carlos Aguilar, IndieWire
“Even in the moments where it can feel a little rough around the edges, the portrait being painted is a breathtaking and unrestrained one. It all comes together to ensure that, in the long cinematic history of American road movies, The Unknown Country carves out an indelible legacy of its own all the way to its final series of shattering shots.” – Chase Hutchinson, Collider
Scrapper
Georgie (Lola Campbell), a resourceful 12-year-old girl, secretly lives alone in her flat in a working class suburb of London following the death of her mother. She makes money stealing bikes with her best friend Ali (Alin Uzun) and keeps the social workers off her back by pretending to live with an uncle. Out of nowhere, her estranged father Jason (Harris Dickinson) arrives and forces her to confront reality. Uninterested in this sudden new parental figure, Georgie is stubbornly resistant to his efforts. As they adjust to their new circumstances, Georgie and Jason find that they both still have a lot of growing up to do.
NOT RATED. CONTAINS SOME LANGUAGE AND MILD VIOLENCE.
“Scrapper is tender without falling into sappiness.” – Claire Shaffer, New York Times
“Most coming-of-age tales chart a course from childhood to maturity. Scrapper flips the premise, allowing a kid who grew up too fast the luxury of slowing down to savor childhood.” – Odie Henderson, Boston Globe
“The resilience in Scrapper is a type of lived creativity, an imaginative space where Georgie—and her father—make up their own rules and their own world. This is an amazing directorial debut.” – Sheila O’Malley, RogerEbert.com
Fremont
Beautiful and troubled 20-something Donya, an Afghan translator who used to work with the U.S. government, has trouble sleeping. She lives by herself in Fremont, California, in a building with other Afghan immigrants and often dines alone at a local restaurant watching soap operas. Her routine changes when she’s promoted to writing the fortunes at her job at a fortune cookie factory in the city. As her fortunes are read by strangers throughout the Bay, Donya’s smoldering longing drives her to send a message out to the world, unsure where it will lead.
NOT RATED. CONTAINS SOME STRONG LANGUAGE, SEXUAL REFERENCES, AND THEMATIC MATERIAL.
“Crafted with stillness, empathy, and clever drollness, Fremont is so striking it will simply and calmly demand your attention. So seemingly introverted, humble, and unassuming, it’ll force you to lean in, listen and heed all the humorous words of wisdom in its many little moments of providence.” – Rodrigo Perez, The Playlist
“In its final moments, the potency of Fremont sneaks up on you. You go in reluctant and even skeptical, and come out wondering how and why you’re moved to tears.” – Tomris Laffly, Variety
“Jalali creates a unique dramedy that will be remembered for its solid direction, powerful performances, and eye-popping cinematography.” – Marco Vito Oddo, Collider
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