Wicked
Elphaba (Cynthia Erivo), misunderstood because of her unusual green skin, has yet to discover her true power. Glinda (Ariana Grande) is a popular young woman, gilded by privilege and ambition, who has yet to discover her true heart. The two meet as students at Shiz University in the fantastical Land of Oz and forge an unlikely but profound friendship. Following an encounter with The Wonderful Wizard of Oz, their friendship reaches a crossroads and their lives take very different paths. Glinda’s unflinching desire for popularity sees her seduced by power, while Elphaba’s determination to remain true to herself, and to those around her, will have unexpected and shocking consequences on her future. Their extraordinary adventures in Oz will ultimately see them fulfill their destinies as Glinda the Good and the Wicked Witch of the West.
rated pg for some scary action, thematic material, and brief suggestive material.
“[An] unforgettable Hollywood epic… Full of color and life, this is a joy to experience on the big screen, and one of the best movies of the year. I’d preorder my tickets to Part 2 right now if I could, but for now I’ll settle for singing Wicked‘s praises.” – Sean Farrell, AFPL Journal
“If you’re a Wicked fan, it’s hard to imagine you could want anything more from this thrillifying film adaptation. Ariana Grande’s and Cynthia Erivo’s performances as Glinda and Elphaba will have you defying gravity.” – Fay Watson, Total Film
“Fueled by exquisite performances from Tony winner Erivo , as Elphaba, or the Wicked Witch of the West, and Grammy winner Grande as Glinda the Good Witch, Wicked is the best movie musical in years, representing a rare instance when performances, visuals and songs are of equally high quality.” – Carla Meyer, San Francisco Chronicle
Nosferatu
Robert Eggers’ Nosferatu is a gothic tale of obsession between a haunted young woman and the terrifying vampire infatuated with her, causing untold horror in its wake.
rated r for bloody violent content, graphic nudity, and some sexual content.
“[A] classic tale of terror retold in a fashion that will keep modern audiences engaged while still retaining the gothic atmosphere of its sources. Eggers is uninterested in using jump scares or gore to shock the audience (though there is certainly some violence here), instead he artfully deploys skin-crawling uneasiness and looming dread to keep us on edge. Combined with a memorably evil villain, it makes Nosferatu one of 2025’s smartest, scariest, and best films.” – Sean Farrell, AFPL Journal
“It reminded me of being a child and seeing the original The Exorcist and feeling as if I was seeing a documentary record of evil, one that was itself cursed, and that I should not even be looking at, because by looking at it, I ran the risk of releasing that evil into the world.” – Matt Zoller Seitz, RogerEbert.com
“Eggers’ Nosferatu is a beautifully crafted, endlessly compelling nightmare that will envelop you in its shifting, writhing darkness and simply refuse to let go. It’s one of the best horror films of the year, and represents a new level of ambition and craft from one of our best horror filmmakers.” – Matthew Jackson, Looper
A Real Pain
Mismatched cousins David and Benji reunite for a tour through Poland to honor their beloved grandmother. The adventure takes a turn when the pair’s old tensions resurface against the backdrop of their family history.
RATED R FOR LANGUAGE THROUGHOUT AND SOME DRUG USE.
“A Real Pain is a truly lovely little film with a relatable core and stellar performances, that beautifully blends humor, pathos, and empathy to create one of the year’s most moving and enjoyable experiences.” – Sean Farrell, AFPL Journal
“It’s a powerful feeling to witness art that reminds us that all aspects of our existence are valuable, especially our pain.” – Brian Tallerico, RogerEbert.com
“With A Real Pain, [Eisenberg] demonstrates impeccable judgment and great skill at balancing sardonic wit with piercing solemnity in a movie full of feeling, in which no emotion is unearned.” – David Rooney, The Hollywood Reporter
Juror #2
While serving as a juror in a high-profile murder trial, family man Justin Kemp finds himself struggling with a serious moral dilemma… one he could use to sway the jury verdict and potentially convict or free the wrong killer.
rated pg-13 for some violent images and strong language.
“A great script and a great cast are key to Juror #2, a gripping moral study dressed up as a courtroom drama.” – Liz Braun, Original Cin
“Juror #2 stands out as the best late-career Eastwood film, from an era with its fair share of gems.” – Caleb Hammond, The Film Stage
“Eastwood has explored systemic injustice before, including in Changeling and Richard Jewell. This is a stronger movie than those two by far, and if this one proves, as rumors have it, that it’s his last as a director, he is going out with a bang.” – Manohla Dargis, New York Times
The Lord of the Rings: The War of the Rohirrim
Set 183 years before the events chronicled in the original trilogy of films, The Lord of the Rings: The War of the Rohirrim tells the fate of the House of Helm Hammerhand, the legendary King of Rohan. A sudden attack by Wulf, a clever and ruthless Dunlending lord seeking vengeance for the death of his father, forces Helm and his people to make a daring last stand in the ancient stronghold of the Hornburg—a mighty fortress that will later come to be known as Helm’s Deep. Finding herself in an increasingly desperate situation, Héra, the daughter of Helm, must summon the will to lead the resistance against a deadly enemy intent on their total destruction.
rated pg-13 for strong violence.
“This attention to detail and reproduction is the movie’s greatest strength — The War of the Rohirrim looks and feels like Jackson’s LotR in the best way. It’s packed full of sword-swinging adventure, kingly drama and riveting monster mayhem.” – Susana Polo, Polygon
“It’s a strong, engaging story that showcases some striking animation, and if I am to return to the wider world of Peter Jackson’s Middle-earth, this seems to me an ideal way to go about it.” – Alexander Harrison, Screen Rant
“All in all, this is probably the best production of the litany of Tolkien pre-Ring stories I’ve seen on the big screen and I’d count The Hobbit in that estimation.” – John Kirk, Original Cin
The Order
In 1983, a series of increasingly violent bank robberies, counterfeiting operations, and armored car heists frightens communities throughout the Pacific Northwest. As baffled law enforcement agents scrambled for answers, a lone FBI agent, stationed in the sleepy, picturesque town of Coeur d’Alene, Idaho, comes to believe the crimes are not the work of traditional, financially motivated criminals, but of a group of dangerous domestic terrorists, inspired by a radical, charismatic leader, plotting a devastating war against the federal government of the United States.
rated r for some strong violence, and language throughout.
“Law and Hoult’s differing energies turn the film into something more than a mere crime drama; it begins to feel like an eternal struggle with existential, civilizational consequences. This is an unforgettable movie.” – Bilge Ebiri, Vulture
“What The Order accomplishes that’s most haunting, and perceptive, is that it shows us how white supremacy in America can be two things at once, two sides of the same coin: the legal and ‘presentable’ side, and the underlying violent side.” – Owen Gleiberman, Variety
“The Order is an enormously effective thriller, and yes, a timely reminder that there has never been a time in this land when darkness and hate didn’t thrive, and in numbers.” – Richard Roeper, Chicago Sun-Times
Weekend in Taipei
On a deep undercover assignment in Taipei, DEA agent John Lawlor (Luke Evans) was doing everything right… until he fell in love with his informant, beautiful Josephine “Joey” Kwang (Lun-Mei Gwei), one of the Asian underworld’s best transport drivers. Compromised and cover blown, John was forced to flee. Now, years later, John is back in Taipei for the weekend. But is he here to finish the job? Or to win back Joey’s love?
rated r for violence.
“Weekend in Taipei is a B-movie straight out of the 1990s: a trashy, splashy, knowingly over-the-top action picture in the tradition of Luc Besson, which is fitting, given that Besson himself co-wrote the script with director George Huang.” – Christy Lemire, RogerEbert.com
“With a game cast and thrilling action sequences, Huang’s film offers more than expected to keep us engaged.” – Mae Abdulbaki, Screen Rant
“The film is fast-paced, confident in its own skin, often very funny, and aims to entertain its audience above all else. Just sit back and enjoy one hell of a ride.” – M.N. Miller, FandomWire
Werewolves
A supermoon event has triggered a latent gene in every human on the planet, turning anyone who entered the moonlight into a werewolf for that one night. Chaos ensued and close to a billion people died. Now, a year later, the Supermoon is back.
rated r for violence, some gore, and language.
“It’s the type of movie that delivers exactly what’s promised: a whole lot of snarling, drooling werewolves.” – Meagan Navarro, Bloody Disgusting
“Werewolves is the best werewolf movie since The Howling.” – Michael Talboit-Haynes, Film Threat
“The result may not be groundbreaking, but it’s fun and it does what it sets out to do, creating an interesting supernatural horror that keeps tensions high.” – Ben Gibbons, Screen Rant
Green Border
In the treacherous and swampy forests that make up the so-called “green border” between Belarus and Poland, refugees from the Middle East and Africa are lured by government propaganda promising easy passage to the European Union. Unable to cross into Europe and unable to turn back, they find themselves trapped in a rapidly escalating geopolitical stand-off. An unflinching depiction of the migrant crisis captured in stark black-and-white, this riveting film explores the intractable issue from multiple perspectives: a Syrian family fleeing ISIS caught between cruel border guards in both countries; young guards instructed to brutalize and reject the migrants; and activists who aid the refugees at great personal risk.
not rated. contains strong language, violence, disturbing content, thematic material, sexual references, and smoking.
“By replicating the process of dehumanization, the film’s form forces us to confront our own inaction. Green Border is unforgettable, in all senses of the word.” – Bilge Ebiri, Vulture
“There has been no shortage of films that deal with Europe’s current refugee crisis over the last decade or so. Still, this picture, with its supremely confident handling of a fractured, fragmented structure and its twin driving forces of compassion and fury, is undoubtedly one of the best.” – Wendy Ide, Screen Daily
“A gripping, visceral human drama that occasionally turns shakycam thriller to excellent effect, it’s a small victory for empathy over coarseness. Like Michael Winterbottom’s prescient 2003 docudrama In This World, it demands that you witness the treatment of refugees with your own eyes.” – Phil de Semlyen, Inside Out
Azrael
In a world in which no one speaks, a mysterious, devout community hunts down a young woman named Azrael (Samara Weaving) who has escaped their imprisonment. Recaptured by its ruthless leaders, she is to be sacrificed to pacify an evil which resides deep within the surrounding wilderness – but Azrael will stop at nothing to ensure her own freedom and survival.
rated r for strong bloody violence and gore.
“Weaving’s expressive face and boundless energy make her a compelling heroine, and her will to survive is unstoppable.” – Katie Rift, IGN
“Weaving, who excels at this kind of character-driven action-horror, plays perfectly with our empathy, wordlessly guiding us through this damned land.” – Richard Whittaker, Austin Chronicle
“Azrael is both familiar and unique, blending genre comforts with a risky idea. Luckily, it all works, paying off a relatively massive gamble that benefits from Samara Weaving’s star power.” – Matt Donato, Collider
V/H/S/Beyond
V/H/S/Beyond, the seventh installment of the V/H/S franchise will feature six new bloodcurdling tapes, placing horror at the forefront of a sci-fi-inspired hellscape.
not rated. contains strong graphic violence throughout, strong language, and thematic material.
“All in all, V/H/S/Beyond is a strong lineup. None of the entries are flat-out duds and some rank among the series’ best.” – Sean Farrell, AFPL Journal
“Pound for pound, segment for segment, death for death, this is everything we could possibly want from a horror anthology.” – Ryan Scott, /Film
“V/H/S/Beyond is the most cohesive, best arranged, and most creatively complementary V/H/S yet. Here’s hoping we get a bundle of found-footage mayhem like this one every Halloween for the foreseeable future.” – Matt Donato, IGN
Oh, Canada
Aging filmmaker Leonard Fife (Richard Gere), still fiery despite his battle with illness, wants to tell his life story, unfiltered, before it’s too late. As the director of acclaimed documentary exposés, he has much to be proud of, but his Vietnam War draft-dodging and his past relationships harbor thorny truths. Leonard sits for an extended interview with his former student Malcolm (Michael Imperioli), relating candid stories about his younger self (Jacob Elordi) in the tumultuous 1960s and beyond. At Leonard’s insistence, his wife and indispensable artistic partner, Emma (Uma Thurman), bears witness to it all. His successes are held up against his failings and, as the man is cleansed of the myth, Leonard must confront what is left.
not rated. contains bloody violence, strong language, and sexual content.
“Schrader’s gaze is patient — tired, almost. He frames Gere’s aged face in tight close-ups, and it is as if we are seeing him for the first time, wrinkled and ragged and oh so very beautiful.” – Rafaela Sales Ross, The Playlist
“Amid the formal fluidity, the forceful acting keeps us hooked.” – Jonathan Romney, Screen Daily
“Even by the director’s meditative standards, this one cuts close to the bone.” – Rory O’Connor, The Film Stage
Red Island
Living on one of the last remaining military bases amidst a hedonistic group of French armed forces in 1970s Madagascar, ten-year-old Thomas begins to find cracks in the surface of his family’s blissful existence on the idyllic island. Taking inspiration from his comic book hero Fantomette, Thomas spies on those around him, discovering the hidden and tangled political and sexual lives of the colonizers and the colonized. As relocation looms, Thomas questions whether the memories he has made are ones he should remember fondly.
not rated. contains strong language, violence, sexual references, and smoking.
“It’s a compelling, visually exquisite piece of work.” – Peter Bradshaw, The Guardian
“It captures beautifully and atmospherically a sense of mounting tension as the military men grapple with their impotency in a newly independent country.” – Wendy Ide, The Observer
“Its autobiographical elements are keenly felt, as Campillo grapples intelligently not just with the blind spots of his personal past, but those of his national heritage.” – Guy Lodge, Variety
Molli and Max in the Future
A sci-fi romantic comedy about a man and woman whose orbits repeatedly collide over the course of 12 years, 4 planets, 3 dimensions, and one space-cult.
not rated. contains strong language, mild violence, and sexual material.
“Writer-director Michael Lukk Litwak’s clever and sweet and funny Molli and Max in the Future comes down to this: It’s When Harry Met Sally… in outer space.” – Richard Roeper, Chicago Sun-Times
“The space stuff is secondary to a powerful tale, insightful dialogue, and brilliantly developed characters. It’s the perfect nerdy date movie.” – Alan Ng, Film Threat
“Molli and Max in the Future is the textbook definition of an indie darling that executes well above its obvious production restraints, as unique and boundlessly ingenious a film you’ll find in today’s media landscape.” – Matt Donato, /Film
Eternal You
What if you never had to say goodbye to a loved one? What if death and grief were concerns of the past? Filmmakers Hans Block and Moritz Riesewieck pose these questions and more while examining one of the latest major breakthroughs in AI technology – open language models that enable realistic conversations with virtual reality avatars built using characteristics of the deceased. In essence, bringing the dead to digital life. Through interviews with end-users, tech experts, journalists, programmers and psychologists, a broad and analytical account unfolds to reveal the far-reaching and often disturbing implications of this new technology.
not rated. contains strong language and thematic content.
“The issues are so profound, in fact, with such implications for the human existence, a single film could hardly scratch the surface. Yet Eternal You is a very good way to start digging.” – David Hughes, Time Out
“Regardless of where you fall on the issue, Eternal You is undeniably beautiful, with artful cinematography from Tom Bergmann and Konrad Waldmann that creates an air of mystery from the very beginning.” – Christy Lemire, RogerEbert.com
“For decades, cryonics were believed to be the key to immortality, with mind transfer pioneers such as Ray Kurzweil eventually leading the charge in a different direction, but as ChatGPT becomes as commonplace as a text message and the path to computer-based divinity continues to shorten at a shocking rate, films such as this become even more vital.” – Brian Farvour, The Playlist
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Summaries provided by the studios or distributors.
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