Godzilla x Kong: The New Empire
The epic battle continues! An all-new adventure pits the almighty Kong and the fearsome Godzilla against a colossal undiscovered threat hidden within our world, challenging their very existence—and our own. Godzilla x Kong: The New Empire delves further into the histories of these Titans and their origins, as well as the mysteries of Skull Island and beyond, while uncovering the mythic battle that helped forge these extraordinary beings and tied them to humankind forever.
rated pg-13 for creature violence and action.
“It’s no small compliment to say that Godzilla x Kong: The New Empire is expertly crafted drivel.” – William Bibbiani, The Wrap
“Godzilla x Kong is infectiously fun, raucous, and, in the 8-year-old sense, awesome. One will not take much away from Godzilla x Kong, but you’ll leave the theater with a big damn fool grin on your face.” – Witney Seibold, /Film
“It may be over-the-top blockbuster fare first and foremost, but Adam Wingard’s love letter to monster movies is far more intelligently crafted than anyone could have predicted.” – Charlotte Simmons, We Got This Covered
Ghostbusters: Frozen Empire
The Spengler family returns to where it all started – the iconic New York City firehouse – to team up with the original Ghostbusters, who’ve developed a top-secret research lab to take busting ghosts to the next level. But when the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to protect their home and save the world from a second Ice Age.
rated pg-13 for supernatural action / violence, language, and suggestive references.
“…every bit as entertaining as you would hope for a big-budget popcorn movie to be.” – Sean Farrell, AFPL Journal
“Yes, even after all these years, ‘busting will still make you feel good.” – Richard Whittaker, Austin Chronicle
“With the right combination of nostalgia and novelty, it’s spot-on for families looking for fun on movie night.” – John Kirk, Original Cin
American Fiction
Monk (Jeffrey Wright) is a frustrated novelist who’s fed up with the establishment profiting from “Black” entertainment that relies on tired and offensive tropes. To prove his point, Monk uses a pen name to write an outlandish “Black” book of his own, a book that propels him to the heart of hypocrisy and the madness he claims to disdain.
rated r for language throughout, some drug use, sexual references, and brief violence.
“Anyone who follows the book world will instantly recognize what Jefferson and Everett are targeting here and will find themselves laughing out loud at every bullseye hit. It isn’t the flashiest movie, but it’s a clever and engaging look at a specific part of American culture that never forgets to entertain its audience.” – Sean Farrell, AFPL Journal
“A triumphant satire about race, exploitation, family and identity that’s as rich and captivating as [Wright’s] tour-de-force.” – Nick Schager, The Daily Beast
“The literary world jabs are sharp and funny, but it’s the rueful family dynamics that make the film so rewarding, as well as the performances.” – Alison Willmore, Vulture
The Boys in the Boat
The Boys in the Boat is about the 1936 University of Washington rowing team that competed for gold at the Summer Olympics in Berlin. This inspirational true story follows a group of underdogs at the height of the Great Depression as they are thrust into the spotlight and take on elite rivals from around the world. Based on the #1 New York Times bestselling non-fiction novel written by Daniel James Brown.
“Director George Clooney understands the strength of this classic underdog story, and he knows how to tell it, with gorgeous visuals and heartfelt performances.” – Nell Minow, RogerEbert.com
“Offering inspiration in both the truth of its basis and the way in which it is presented, The Boys in the Boat is an antidote to the pervasive cynicism of the modern era.” – James Berardinelli, ReelViews
“The art direction and attention to detail in The Boys in the Boat are beautiful and well done, especially capturing the feathering of the rowing, the splashing and pools of water, and the creek of the rigging as the team of eight turns the oars with muscle and unison.” – Sabina Dana Plasse, Film Threat
Immaculate
Cecilia (Sydney Sweeney) a woman of devout faith is warm welcomed to the picture-perfect Italian countryside where she is offered a new role at an illustrious convent. But it becomes clearer to Cecilia that her new home harbors dark and horrifying secrets.
Rated r for strong and bloody violent content, grisly images, nudity, and some language.
“Giving life to a horror vision that would not have nearly the same power and potency without her at the forefront of it, Sweeney has never been better than she is here. What a darkly beautiful yet brutal, bloody and bold film this is for her to wield.” – Chase Hutchinson, The Wrap
“No small part of the satisfaction of Immaculate comes from witnessing someone find faith in herself.” – Stephen Saito, Variety
“Immaculate doesn’t try to reinvent anything but instead cheerfully embraces the familiar, which is part of what makes the movie enjoyable.” – Manohla Dargis, New York Times
The Ministry of Ungentlemanly Warfare
Based upon recently declassified files of the British War Department and inspired by true events, The Ministry of Ungentlemanly Warfare is an action-comedy that tells the story of the first-ever special forces organization formed during WWII by UK Prime Minister Winston Churchill and a small group of military officials including author Ian Fleming. The top-secret combat unit, composed of a motley crew of rogues and mavericks, goes on a daring mission against the Nazis using entirely unconventional and utterly “ungentlemanly” fighting techniques. Ultimately their audacious approach changed the course of the war and laid the foundation for the British SAS and modern Black Ops warfare.
rated r for strong violence throughout and some language.
“The cast delight as they swagger their way through the story, exuding the usual mix of charm and bravado that one would expect in a Ritchie movie. Cavill and González in particular seem to relish their roles and are infectiously fun to watch.” – Sean Farrell, AFPL Journal
“Ritchie is tops when it comes to getting a group of guys (and, occasionally, gal) together to complete a bloody, belligerent task. And this is as taut an ensemble of his as ever.” – Johnny Oleksinski, New York Post
“The Ministry of Ungentlemanly Warfare is everything you want in a movie: the fight scenes are bloody and exciting, the dialogue is tongue-in-cheek, every joke landed, and not one actor felt out of place.” – Meredith G. White, Arizona Republic
Origin
While grappling with tremendous personal tragedy, Isabel (Aunjanue Ellis-Taylor) sets herself on a path of global investigation and discovery. Despite the colossal scope of her project, she finds beauty and bravery while crafting one of the defining American books of our time. Inspired by the New York Times Best-Seller Caste: The Origins of Our Discontents by Pulitzer Prize winner Isabel Wilkerson.
rated pg-13 for thematic material involving racism, violence, some disturbing images, language, and smoking.
“The film will get people thinking and talking. The way DuVernay directs it, Origin is a swirling tornado of ideas.” – Peter Debruge, Variety
“DuVernay embraces Wilkerson’s work wholeheartedly and rises to the artistic challenge with one of the most unusual and ingenious of recent screenplays.” – Richard Brody, The New Yorker
“Origin, Ava DuVernay’s audacious, ambitious adaptation of the equally audacious and ambitious book Caste, operates on so many levels at once that the effect is often dizzyingly disorienting. But hang in there: Viewers who allow themselves to be taken on this wide-ranging, occasionally digressive journey will emerge not just edified but emotionally wrung out and, somehow, cleansed.” – Ann Hornaday, Washington Post
The Long Game
In 1955, five young Mexican-American caddies, out of the love for the game, were determined to learn how to play, so they created their own golf course in the middle of the South Texas desert.
rated pg for language, racial slurs, thematic material, some violence, and brief rude material.
“For this team and their coach, the long game is about whatever it takes to play and get on track to a championship, even if that means smiling at insults and swallowing their pride when the competition cheats. Ultimately, though, it’s not about golf but about dedication, resilience, and the joy of finding you can do better than your dreams.” – Nell Minow, RogerEbert.com
“It’s moving and inspiring in the expected ways, but also a smart examination of the mental games within race relations.” – Robert Kojder, Flickering Myth
“[It] follows a familiar formula of sports underdog movies based on true stories, but the cast’s admirable performances make this inspirational drama worth watching. Many viewers will learn something about the Mustangs golf team that broke racial barriers.” – Carla Hay, Culture Mix
Nowhere Special
John, a 35-year-old window cleaner, has dedicated his life to bringing up his 4-year-old son, Michael, after the child’s mother left them soon after giving birth. When John is given only a few months left to live, he attempts to find a new, perfect family for Michael, determined to shield him from the terrible reality of the situation. Although initially certain of what he is looking for in the perfect family, John gradually abandons his early convictions, overwhelmed by doubts on the decision. How can he judge a family from a brief encounter? And does he know his own child well enough to make this choice for him? As John struggles to find the right answer to his impossible task, he comes to accept the help of a young social worker, opening himself to solutions he would never have considered. And he finally comes to accept his anger at the injustice of his destiny, the need to share the truth with his son, and to follow the child’s instincts on the biggest decision of their lives.
not rated. contains some strong language, sexual references, and thematic content.
“There are so many ways to go wrong with this story, which we are told was inspired by an unidentified real father and son. Writer/director Uberto Pasolini does not let that happen, relying on the most ordinary details to take on greater and greater weight.” – Nell Minow, RogerEbert.com
“The film is essentially a two-hander between Norton and Lamont, both of whom give excellent, complementary performances. They feel like father and son from first frame to last.” – Odie Henderson, Boston Globe
“The mostly low-key mode of Nowhere Special is the right one. Norton is spectacular, but little Lamont delivers one of those uncanny performances that doesn’t seem like acting, and makes you feel for the kid almost as much as his onscreen parent does.” – Glenn Kenny, New York Times
Stopmotion
A stop-motion animator struggles to control her demons after the loss of her overbearing mother.
rated r for violent / disturbing content, gore, some language, sexual material, and brief drug material.
“It’s chilling and tragic in equal measures.” – Richard Whittaker, Austin Chronicle
“Morgan’s feature debut is as stunning, diabolical and boundary-pushing an emergence as any filmmaker could hope to achieve.” – Matt Donato, Paste
“Awash with visions straight out of nightmares, this is firmly one of the most frightening films of the year and it caps things off with a disturbing finale that will haunt viewers as they try to settle in for bed. ” – Sean Farrell, AFPL Journal
The Three Musketeers Part II: Milady
D’Artagnan is forced to join forces with Milady to save Constance, who was kidnapped before his eyes. But as war is declared and Athos, Porthos and Aramis have already joined the front, a secret from the past shatters old alliances.
not rated. contains violence, bloody images, sexual material, thematic content, rude humor, and smoking.
“The Three Musketeers Part II: Milady is a sky-high bonfire for the planet to gather around and witness legend in motion.” – Michael Talbot-Haynes, Film Threat
“Eva Green’s full range of skills have rarely been so thoroughly showcased.” – Helen O’Hara, Time Out
“Martin Bourboulon’s two films more than hold their own with Hollywood’s best versions of this classic cloak-and-swordplay mystery, preserving the surprises and adding a few fresh ones to iconic, noble-hearted ‘All for one, and one for all’ heroics.” – Roger Moore, Movie Nation
The Old Oak
The Old Oak is the last pub standing in a once thriving mining village in northern England, a gathering space for a community that has fallen on hard times. There is growing anger, resentment, and a lack of hope among the residents, but the pub and its proprietor TJ are a fond presence to their customers. When a group of Syrian refugees move into the floundering village, a decisive rift fueled by prejudices develops between the community and its newest inhabitants. The formation of an unexpected friendship between TJ and a young Syrian woman named Yara opens up new possibilities for the divided village in this deeply moving drama about loss, fear, and the difficulty of finding hope.
not rated. contains frequent strong language, violence, bloody images, and thematic content.
“It’s as engrossing, thoughtful, heartfelt, angry, hopeful, and altogether valuable as his best work. If it is indeed Loach’s farewell, it’s one hell of a fine note to go out on.” – Matt Zoller Seitz, RogerEbert.com
“An intimate but ambitiously mounted ensemble piece, The Old Oak ranks among Loach’s foremost state-of-the-nation dramas.” – Jonathan Romney, Screen Daily
“The third part in a loose, geographically defined trilogy, as sensitively penned by Loach collaborator Paul Laverty, The Old Oak is a gentler film than the stark austerity painted by I, Daniel Blake or the chilling dissection of the gig economy in Sorry We Missed You. The film is, however, astute in its depiction of a disenfranchised community, ravaged by vulture property speculators and post-industrialisation.” – Tara Brady, Irish Times
Sometimes I Think About Dying
Lost on the dreary Oregon coast, Fran (Daisy Ridley) finds solace in her cubicle, listening to the constant hum of officemates and occasionally daydreaming to pass the time. She is ghosting through life, unable to pop her bubble of isolation, when a friendly new coworker, Robert (Dave Merheje), persistently tries to connect with her. Though it goes against every fiber of her being, she may have to give this guy a chance.
rated pg-13 for thematic material, some language, and brief drug material.
“Sometimes I Think About Dying is a dark comedy of restraint and quiet, but that silence holds an incredible amount of power and emotion. Ridley gives what might be her best performance, and Lambert knows exactly how to balance the delicate mood of the film.” – Ross Bonaime, Collider
“It’s a performance that’s so far afield of the loud flash and melodrama of Star Wars that Ridley seems almost introduced anew.” – Richard Lawson, Vanity Fair
“It’s a movie made up of quiet moments: pauses in conversation, lingering glances, and outstretched hands. Lambert emphasizes the importance of these small interactions, and the ways they build up to connections. It’s a quiet story that aches in the best sort of way.” – Petrana Radulovic, Polygon
Irena’s Vow
Follows the life of Polish nurse Irene Gut Opdyke who was awarded the Righteous Among the Nations medal for showing remarkable courage in her attempt to save Polish Jews during World War II.
rated r for some strong violence and brief sexuality.
“Filmed on authentic locations in Poland by meticulous Canadian director Louise Archambault, Irena’s Vow is one of the most astounding true stories to ever emerge from the ashes of the Holocaust.” – Rex Reed, Observer
“This is such a worthwhile story that we can’t look away, and Nélisse is so engaging that we don’t want to.” – Christy Lemire, RogerEbert.com
“Long after the last image has flickered into your eye, you’ll be left with a deeper, overarching appreciation of what humans are capable of at their best. You can’t put a price on that. Gordon and Archambault deserve a lot of credit for adapting her life in an exciting and heartfelt way.” – Andy Howell, Film Threat
The Animal Kingdom
In a world where mutations in human genetics cause people to transform into hybrid creatures, François (Roman Duris) does everything he can to save his wife, who is affected by this mysterious condition. As some of the creatures disappear into a nearby forest, François embarks with Emile (Paul Kircher), their 16-year-old son, on a quest to find her with help from a local police officer (Adèle Exarchopoulos).
not rated. contains violence, strong language, sexual material, and thematic content.
“The Animal Kingdom moves swiftly between its characters’ everyday problems and the story’s fantastical elements in a magical realist way that quickly captivates its viewer.” – Monica Castillo, RogerEbert.com
“The Animal Kingdom sets itself up as a brooding chiller, jump scares, freaky coups de cinéma and all, but gradually shifts gear to become more poetic and tender.” – Jonathan Romney, Screen Daily
“Narrative ambiguity can be fruitful but also a cop-out, as too many would-be art films tediously demonstrate. Here, though, the movie’s vagueness dovetails with both François’s and especially Émile’s confusion, and importantly, it also serves as a counterpoint to their unshakable love for Lana.” – Manohla Dargis, New York Times
DogMan
Following a traumatic childhood, a man finds salvation and justice through his connection with dogs.
rated r for violent content, language, and brief drug use.
“The strangest, possibly silliest movie of the veteran director’s idiosyncratic career. It is also borderline brilliant.” – Jeannette Catsoulis, New York Times
“[Caleb Landry Jones] is astounding in this role, so you sit there completely engaged in this film where there is not a single believable moment in it.” – Tim Cogshell, FilmWeek
“Then there’s Besson’s trademark sense of the visual, which is still solid… The trademark final showdown in a confined space is an amusing mix of Assault on Precinct 13, 101 Dalmatians and Home Alone 2 that you didn’t know you wanted.” – Olga Artemyeva, ScreenAnarchy
Afire
While vacationing by the Baltic Sea, writer Leon (Thomas Schubert) and photographer Felix (Langston Uibel) are surprised by the presence of Nadja (Paula Beer), a mysterious young woman staying as a guest at Felix’s family’s holiday home. Nadja distracts Leon from finishing his latest novel and with brutal honesty, forces him to confront his caustic temperament and self-absorption. As Nadja and Leon grow closer, an encroaching forest fire threatens the group and tensions escalate when a handsome lifeguard and Leon’s tight-lipped book editor also arrive.
not rated. contains sexual references, brief nudity, grisly images, and language.
“Afire is the uncompromising work of a master not only on conceptual and stylistic levels but also in terms of his emotional politics.” – Savina Petkova, The Playlist
“Throughout this movie, an absorbing, barbed and frequently funny evisceration of artistic ego, Petzold practices a deft and disarming sleight of hand, using key details to keep the viewer off balance and deliver a stinging rebuke to Leon’s myopia.” – Justin Chang, Los Angeles Times
“Afire culminates in a magnificent and poetic study of subjectivity, exploring the isolated anxieties of creative labour and a simultaneous entanglement of superiority and inferiority complexes, adding another compelling and precise layer of texture to Petzold’s multifaceted oeuvre.” – Marina Ashioti, Little White Lies
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Cover image created with Midjourney prompt: Godzilla and King Kong fighting with a pile of DVDs.
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