Mean Girls

New student Cady Heron is welcomed into the top of the social food chain by the elite group of popular girls called “The Plastics,” ruled by the conniving queen bee Regina George and her minions Gretchen and Karen. However, when Cady makes the major misstep of falling for Regina’s ex-boyfriend Aaron Samuels, she finds herself prey in Regina’s crosshairs. As Cady sets to take down the group’s apex predator with the help of her outcast friends Janis and Damian, she must learn how to stay true to herself while navigating the most cutthroat jungle of all: high school.

RATED PG-13 FOR SEXUAL MATERIAL, STRONG LANGUAGE, AND TEEN DRINKING.

“The film is a fun and totally fetch amalgamation of both eras of Cady, Regina, Gretchen, Karen, Janis, and Damian.” – BJ Colangelo, /Film

“Rapp, who originated the role of Regina on Broadway, is a force-of-nature knockout, honouring but not imitating Rachel McAdams’s beautiful bullying from the first film with a sly kind of menace.” – Barry Hertz, The Globe and Mail

“Sharp, funny and strongest when it stands on its own two perfectly manicured feet, this snappy musical successfully updates the original Mean Girls template for a fresh audience.” – Catherine Bray, Empire

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Tom Clancy’s Jack Ryan: The Final Season

Jack Ryan is facing enemies from the outside and from within. Anointed as the new acting head of the CIA, Ryan must root out a conspiracy that threatens to destroy the entire security apparatus. When he discovers off-the-books black ops activity, he must turn the investigation on his own people. Between drug cartels, terrorist cells, and internal corruption, Jack Ryan has his work cut out for him in his final adventure.

RATED TV-MA. CONTAINS VIOLENCE, STRONG LANGUAGE, SEXUAL REFERENCES, AND DRUG USE.

“Boy, is it great to have him back — even if only to say goodbye.” – Zaki Hasan, TheWrap

“Jack Ryan achieves what every TV series with a finite story should do; it bows out with its best run of episodes yet, that brings the story full circle while leaving you wishing there was more to come.” – Scott Campbell, We Got This Covered

“John Krasinski has become the definitive Jack Ryan. This series has accomplished something that prior attempts to adapt this character failed to do. I hope that someday we will see more of this version of the franchise continue in one capacity or another.” – Alex Maidy, JoBlo

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Night Swim

Secretly hoping, against the odds, to return to pro ball, Ray persuades Eve that the new home’s shimmering backyard swimming pool will be fun for the kids and provide physical therapy for him. But a dark secret in the home’s past will unleash a malevolent force that will drag the family under, into the depths of inescapable terror.

RATED PG-13 FOR TERROR, SOME VIOLENT CONTENT, AND LANGUAGE.

“[A] confident and creepy ghoul-in-the-pool horror that makes Bryce McGuire a filmmaker to watch. Wusses, bring armbands.” – Ben Travis, Empire

“[A] fun, funny, often genuinely unnerving horror movie experience, one that might make you think twice about that first swim of the year when summer rolls around.” – Matthew Jackson, AV Club

“Producers Jason Blum and James Wan, both horror titans, once again show they know how to freak audiences out while maintaining a sly sense of humor.” – Christy Lemire, RogerEbert.com

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Madame Web

Forced to confront revelations about her past, Cassandra Webb (Dakota Johnson), a paramedic in Manhattan who may have clairvoyant abilities, forges a relationship with three young women destined for powerful futures… if they can all survive a deadly present.

RATED PG-13 FOR VIOLENCE / ACTION AND LANGUAGE.

“It’s a travesty, a disaster, a blight on the history of superheroes and cinema itself. I enjoyed the hell out of it.” – Sam Adams, Slate

“Dakota Johnson’s droll, in-on-the-joke star-turn plus a weirdly welcoming stupidity, at least makes Sony’s ill-fated not-quite-a-superhero movie a painless good time.” – Scott Mendelson, The Outside Scoop

“All in all, it is a good night out, with a pigeon-saving, people-avoiding, new kind of hero and a finale that plays out like Highlander’s final set piece had it been sponsored by Pepsi!” – Jack Bottomley, Starburst

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Andor: Season 1

The prequel Star Wars series follows Cassian Andor’s journey to become the Rebel leader first introduced in 2016’s Rogue One.

RATED TV-14. CONTAINS VIOLENCE, LANGUAGE, SEXUAL REFERENCES, AND THEMATIC CONTENT.

“This is the Star Wars series you’re looking for. Don’t sleep on it.” – Matt Webb Mitovich, TV Line

“With a stellar cast and clever storytelling, the hope that there’s more to Star Wars than Skywalker stories continues to grow with the absolutely magnificent Andor.” – Terry Terrones, Paste

“A show that’s more concerned with portraying life under an oppressive system than with inspiring awe, Andor is an unusually mature entry in the Star Wars franchise. It’s a confident and sophisticated drama that asks for—and rewards—a grown-up kind of patience.” – Shirley Li, The Atlantic

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Lisa Frankenstein

A coming of RAGE love story from acclaimed writer Diablo Cody about a misunderstood teenager and her high school crush, who happens to be a handsome corpse. After a set of playfully horrific circumstances bring him back to life, the two embark on a murderous journey to find love, happiness… and a few missing body parts along the way.

RATED PG-13 FOR VIOLENT CONTENT, BLOODY IMAGES, SEXUAL MATERIAL, LANGUAGE, SEXUAL ASSAULT, TEEN DRINKING, AND DRUG CONTENT.

“The silly and sexy horror comedy brings an edgy twist to the adored subgenre and, through its reverence for the beloved decade’s penchant for gothic charm, makes for a ridiculously brilliant spin on a timeless story over 200 years old.” – Lex Briscuso, The Wrap

“It’s an impressive feat of comedic acrobatics to make a movie in this mold that creates a version of this madness that we can justify, relate to, become disgusted with, and ultimately love.” – Dylan Roth, Observer

“It’s as if Diablo Cody and Zelda Williams took Sprouse’s ‘I’m a weirdo’ speech from Riverdale and turned it into an entire movie to prove the point. For all of its fantastical elements of undead boyfriends and tanning bed magic, there’s a genuine message about how ungodly difficult it is to be a teenage girl in all of its forms, but that gallows humor is one of the strongest coping mechanisms to employ.” – BJ Colangelo, /Film

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The Beekeeper

One man’s brutal campaign for vengeance takes on national stakes after he is revealed to be a former operative of a powerful and clandestine organization known as Beekeepers.

RATED R FOR STRONG VIOLENCE THROUGHOUT, PERVASIVE LANGUAGE, SOME SEXUAL REFERENCES, AND DRUG USE.

“It’s an action movie with plot beats that might make certain audience members raise their eyebrows and scoff, but it will have Statham devotees smiling, laughing, and cheering in their seats.” – Nate Richard, Collider

“100% pure Statham, and after many years where audiences had to settle for the diluted variety it’s a welcome return to form.” – William Bibbiani, The Wrap

“By Cinema Stathama considerations, The Beekeeper is a masterpiece – the best B(ee)-movie of this cold-hearted season.” – Barry Hertz, The Globe and Mail

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It’s a Wonderful Knife

After saving her town from a psychotic killer, Winnie Carruthers’ life is less than wonderful. When she wishes she’d never been born, she finds herself in a nightmare parallel universe where without her, things could be much, much worse.

RATED R FOR BLOODY VIOLENCE, DRUG USE, AND LANGUAGE.

“It’s A Wonderful Knife has plenty of attributes—charm, blood, and angst—that should fit right in at any family holiday gathering.” – Robert Daniels, RogerEbert.com

“It’s A Wonderful Knife might make its points with steel blades, but that doesn’t negate the saccharine earnestness that assures this one as a new Christmas horror favorite with a heart three sizes bigger than you’d expect.” – Matt Donato, /Film

“Kennedy’s generous screenplay is filled with some gruesome moments but also some rather sweet and sour ones, from Capra’s meaning of life musings to the power of governing by fear and the life saving power of finding that kinship you never saw coming.” – Jack Bottomley, Starburst

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Finestkind

Two brothers, raised in different worlds, are reunited as adults over a fateful summer. Set against the backdrop of commercial fishing, the story takes on primal stakes when desperate circumstances force the brothers to strike a deal with a violent Boston crime gang. Along the way, a young woman finds herself caught perilously in the middle. Sacrifices must be made and bonds between brothers, friends, lovers, and a father and his son are put to the ultimate test.

RATED R FOR PERVASIVE LANGUAGE, SOME VIOLENCE, DRUG MATERIAL, AND SEXUAL CONTENT.

“If you choose to focus on the family connections, then it’s clear that Helgeland has something to say.” – Peter Debruge, Variety

“An entertaining family drama with a standout performance from Tommy Lee Jones.” – Chris Bumbray, JoBlo

“Finestkind boasts powerful performances from leads Toby Wallace and Ben Foster as the two make for a convincing case of the family bonds that tie together two souls looking for peace from within.” – Matthew Creith, Matinee with Matt

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The Eight Mountains

The Eight Mountains is the story of a friendship. Of children becoming men who try to erase the footprints of their fathers, but who, through the twists and turns they take, always end up returning home. Pietro is a boy from the city, Bruno is the last child of a forgotten mountain village. Over the years Bruno remains faithful to his mountain, while Pietro is the one who comes and goes. Their encounters introduce them to love and loss, reminding them of their origins, letting their destinies unfold, as Pietro and Bruno discover what it means to be true friends for life.

NOT RATED. CONTAINS SOME STRONG LANGUAGE AND THEMATIC CONTENT.

“A beautiful and poetic movie about time, nature, friendship, and love.” – Sean Farrell, AFPL Journal

“The Eight Mountains is a sentimental ode to those singular friendships we make in our lives, the kind that can’t be severed by any amount of distance, physical or temporal. Even when there’s so much left unsaid, it’s the comfort they find in each other that resonates most.” – Iana Murray, The Playlist

“Just as the film’s near-sole setting — a remote mountain cabin beneath the peaks of northwestern Italy — beckons Pietro (Luca Marinelli) and Bruno (Alessandro Borghi) throughout their lives, the intoxicating atmosphere of The Eight Mountains is a cherished retreat I’m already eager to revisit.” – Jake Coyle, Associated Press

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Our Son

Long-term partners Gabriel and Nicky have created what appears to be the perfect life with their young son. Despite appearances, Gabriel is unhappy and initiates a divorce that forces them to confront the changing reality of all their lives.

RATED R FOR SOME SEXUAL CONTENT / NUDITY AND LANGUAGE.

“A simple yet engaging melodrama…” – Beatrice Loayza, New York Times

“Porter is fantastic, but the film really belongs to Evans, who is hugely affecting as the busy working man struggling to figure out how to be a father.” – Josh Winning, Radio Times

“A cathartically devastating film, Our Son reaches deep into the wells of emotion, delivering a well-constructed breakdown of love on the shoulders of two actors at the top of their game.” – Stephanie Archer, Film Inquiry

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Love Life

Taeko and her husband Jiro are living a peaceful existence with her young son Keita, when a tragic accident brings the boy’s long-lost father, Park, back into her life. To cope with her pain and guilt, Taeko throws herself into helping Park, who is deaf and currently homeless.

NOT RATED. CONTAINS MILD VIOLENCE, SEXUAL THREAT, THEMATIC MATERIAL, AND SMOKING.

“While there can be an artificiality to monologues, the raw and complex contradictions each character contends with are rooted in emotions that never once ring false, and the actors bring an authenticity that transcends treacle.” – Marya E. Gates, RogerEbert.com

“While Love Life has its fair share of sharply written heart-to-hearts, many of its most touching moments (and all of its most telling ones) hinge on a certain kind of emotional geography.” – David Ehrlich, IndieWire

“It doesn’t talk down to audiences, instead inviting them to experience something relatable, something that both challenges and provides answers. How refreshing.” – Alex Saveliev, Film Threat

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The Conference

On the morning of 20 January 1942, in a villa on the lakefront of the Wannsee in Berlin, leading members of the Nazi regime came together. They had been invited by Reinhard Heydrich to a meeting followed by breakfast; The sole topic on the agenda that morning was what the Nazis called the Final Solution to the Jewish Question: the organization of the systematic mass murder of millions of Jews across Europe.

NOT RATED. CONTAINS DISTURBING MATERIAL AND SOME LANGUAGE.

“The film is riveting in its depiction of the banality of evil.” – David Stratton, The Australian

“In its quiet, terrifying way, The Conference is one of the best films I’ve seen this year.” – Graeme Tuckett, Stuff

“A stark, unsettling dramatization… All the negotiating, deal-making and chatter often makes The Conference feel like a macabre business movie – which, essentially, it is, only the product being discussed is industrial-scale mass-murder.” – Jim Schembri, JimSchembri.com

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The Starling Girl

Seventeen-year-old Jem Starling (Eliza Scanlen) struggles to define her place within her fundamentalist Christian community in rural Kentucky. Even her greatest joy of dancing with the church group is tempered by worry that her actions are sinful and she is caught between a burgeoning awareness of her own sexuality and her religious devotion. With the return of Owen, an enigmatic youth pastor, Jem soon finds herself attracted to his worldliness and charm. Slowly, he draws her into a dangerous relationship that could upend their entire community.

RATED R FOR SOME SEXUALITY.

“The Starling Girl is steeped with empathy, not just for Jem, but for every young woman, religious or not, who struggles to know herself and gives in to the desire to be seen, no matter the voyeur — just to feel alive, and

like they matter.” – Maggie Boccella, Collider

“One of the smartest things about Parmet’s film is the way it portrays internalized misogyny in her female characters. The Starling Girl is a complex, often disturbing portrait of the way women have been pressured to shrink themselves and pass on that shame to their daughters.” – Jourdain Searles, Hollywood Reporter

“The Starling Girl is so effective because it feels so specific to the character Parmet creates but remains accessible to people who haven’t shared her experience. The film is rich in detail, both in the sense of what it’s like growing up in a very religious community and what teenage rebellion looks like when just acting like an individual is enough to earn a stern talking to from an elder.” – Monica Castillo, RogerEbert.com

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Tantura

The tape-recorded words “erase it” take on new weight in the context of history and war. When the State of Israel was established in 1948, war broke out and hundreds of Palestinian villages were depopulated in its aftermath. Israelis know this as the War of Independence. Palestinians call it “Al Nakba” (the Catastrophe). In the late 1990s, graduate student Teddy Katz conducted research into a large-scale massacre that had allegedly occurred in the village of Tantura in 1948. His work later came under attack and his reputation was ruined, but 140 hours of audio testimonies remain. Director Alon Schwarz revisits former Israeli soldiers of the Alexandroni Brigade as well as Palestinian residents in an effort to re-examine what happened in Tantura and explore why the Nakba is taboo in Israeli society. The ex-soldiers, now in their 90s, recall unsettling acts of war while disquietly pausing at points they either don’t remember or won’t speak of. Audio from Katz’s 20-year-old interviews cuts through the silence of self-preservation and exposes the ways in which power, silencing, and protected narratives can sculpt history.

NOT RATED. CONTAINS FRANK DISCUSSIONS OF GRAPHIC VIOLENCE AND SEXUAL ASSAULT, INCLUDING RAPE.

“This sobering movie is a triumph, but it’s also just a hugely compelling story about how power tries to silence all other narratives.” – Ned Booth, The Playlist

“Aesthetically and dramatically, Tantura is a fairly straightforward piece of work, and this is appreciated. We are being presented with the facts as the filmmakers see them. Schwarz and his collaborators acknowledge Katz and the complications of his word, while also letting us hear the admissions from the soldiers themselves.” – Dan Mecca, The Film Stage

“The emerging film is not simply a persuasive augmentation of Katz’s argument, but also a disturbing portrait of how very human impulses — passivity, rationalization, social pressures — can shape the writing of history.” – Ben Kenigsberg, New York Times

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Surprised by Oxford

Brilliant but emotionally guarded Carolyn Drake arrives in Oxford with the singular goal of attaining her PhD — but through a turbulent friendship with a charming young man, she begins to open herself up to mystery, vulnerability, and love.

NOT RATED. CONTAINS LANGUAGE AND SEXUAL REFERENCES.

“Almost every shot of the film is filled with its grandeur, dignity, splendor, and traditions.” – Nell Minow, RogerEbert.com

“Surprised by Oxford prioritizes things often neglected in faith-based entertainment: stylistic beauty, smart story, good acting, and a goal of entertaining the audience more than preaching to them.” – Brett McCracken, The Gospel Coalition

“Surprised by Oxford will pleasantly surprise the viewer, regardless of your religious leanings.” – Bradley Gibson, Film Threat