Lilo & Stitch
A lonely Hawaiian girl befriends a runaway alien, helping to mend her fragmented family.
“This new Lilo & Stitch manages to capture the real emotion embedded in this story, while also nailing all the fun that comes from an agent of chaos discovering he has a heart.” – Liz Shannon Miller, Consequence
“Lilo & Stitch is one of the stronger results of Disney’s non-stop remake campaign, taking the emotional core of the original and amplifying it in a stirring manner.” – Eric Goldman, IGN
“It’s jovial, zany, and sweet, and it recreates its adorable title alien via CGI (and a Sanders voice performance) with pitch-perfect accuracy.” – Nick Schager, The Daily Beast
rated pg for action, peril, and thematic elements.
How to Train Your Dragon
On the rugged isle of Berk, where Vikings and dragons have been bitter enemies for generations, Hiccup (Mason Thames) stands apart. The inventive yet overlooked son of Chief Stoick the Vast (Gerard Butler, reprising his voice role from the animated franchise), Hiccup defies centuries of tradition when he befriends Toothless, a feared Night Fury dragon. Their unlikely bond reveals the true nature of dragons, challenging the very foundations of Viking society. With the fierce and ambitious Astrid (Nico Parker) and the village’s quirky blacksmith Gobber (Nick Frost) by his side, Hiccup confronts a world torn by fear and misunderstanding. As an ancient threat emerges, endangering both Vikings and dragons, Hiccup’s friendship with Toothless becomes the key to forging a new future. Together, they must navigate the delicate path toward peace, soaring beyond the boundaries of their worlds and redefining what it means to be a hero and a leader.
“How to Train Your Dragon is the gold-star example of how to do a live-action remake right.” – Maggie Lovitt, Collider
“…thrilling. The transition to live action actually serves the material well as do the tweaks to the story, lending it extra emotional heft and visual splendor… takes flight in ways that not much else does and offers up pure movie magic of the highest order.” – Sean Farrell, AFPL Journal
“DeBlois elevates a beloved cinema memory and creates a spectacle, a mythical fairy tale—Game of Thrones lite—with enough DreamWorks Animation magic to warrant its own theme park ride.” – Thom Ernst, Original Cin
rated pg for sequences of intense action, and peril.
The Accountant 2
Christian Wolff (Ben Affleck) has a talent for solving complex problems. When an old acquaintance is murdered, leaving behind a cryptic message to “find the accountant,” Wolff is compelled to solve the case. Realizing more extreme measures are necessary, Wolff recruits his estranged and highly lethal brother, Brax (Jon Bernthal), to help. In partnership with U.S. Treasury Deputy Director Marybeth Medina (Cynthia Addai-Robinson), they uncover a deadly conspiracy, becoming targets of a ruthless network of killers who will stop at nothing to keep their secrets buried.
“The two leads are easy to root for, the action is thrilling, and the topical story keeps the audience invested… an exciting ride.” – Sean Farrell, AFPL Journal
“The Accountant 2 is a pleasant surprise. It scratches that crime procedural itch, along with paramilitary-style gunplay, for a winning combination.” – Alan Ng, Film Threat
“It’s rare that sequels outdo what came before, but O’Connor manages to do so here. This is pure popcorn entertainment, executed effectively.” – Ryan Scott, /Film
rated r for strong violence, and language throughout.
The King of Kings
A father tells his son the greatest story ever told, and what begins as a bedtime tale becomes a life-changing journey. Through vivid imagination, the boy walks alongside Jesus, witnessing His miracles, facing His trials, and understanding His ultimate sacrifice. The King of Kings invites us to rediscover the enduring power of hope, love, and redemption through the eyes of a child.
“Its revelation of Jesus Christ’s story can still inspire the next generation of filmgoers through its timeless themes of redemption and forgiveness.” – Ethan Padgett, Film Threat
“This engaging faith-based film’s unique framing device makes the story of Jesus’ life feel fresh for younger, adventure-loving children.” – Sandie Angulo Chen, Common Sense Media
“The King of Kings is a beautifully crafted animation film that blends history, faith, and imagination. Whether you’re drawn in by the voice cast, the animation, or the unique Dickensian framing, it’s a film worth watching this Easter season.” – Romey Norton, Film Focus Online
rated pg for thematic material, violent content, and some scary moments.
Karate Kid: Legends
After a family tragedy, kung fu prodigy Li Fong (Ben Wang) is uprooted from his home in Beijing and forced to move to New York City with his mother. Li struggles to let go of his past as he tries to fit in with his new classmates, and although he doesn’t want to fight, trouble seems to find him everywhere. When a new friend needs his help, Li enters a karate competition – but his skills alone aren’t enough. Li’s kung fu teacher Mr. Han (Jackie Chan) enlists original Karate Kid Daniel LaRusso (Ralph Macchio) for help, and Li learns a new way to fight, merging their two styles into one for the ultimate martial arts showdown.
“It’s warm, it’s breezy – it’s a burst of summery family fun that is sure to inspire long looks back at the old movies and Cobra Kai episodes while sparking renewed interest in martial arts apprenticeship. Anyone would get a kick out of it.” – Andrew Lawrence, The Guardian
“It strikes a good balance between heartfelt and fun, and the cast has great chemistry; their interactions are joyful and dynamic.” – Mae Abdulbaki, Screen Rant
“Karate Kids: Legends is a classic story reimagined for the TikTok generation. Ben Wang is a fantastic lead, while Jackie Chan and Ralph Macchio have fantastic chemistry – if only they had more screentime. One of the better installments in this mixed franchise.” – Jack Shepherd, Total Film
rated pg-13 for martial arts violence and some language.
The Unholy Trinity
Set in 1870s Montana, The Unholy Trinity picks up in the moments before the execution of Isaac Broadway, as he gives his estranged son, Henry, an impossible task: Murder the man who framed him for a crime he didn’t commit. Intent on fulfilling his promise, Henry travels to the remote town of Trinity, where an unexpected turn of events traps him in town and leaves him caught between Gabriel Dove, the town’s upstanding new sheriff, and a mysterious figure named St Christopher.
“It’s not just a wallow in nostalgia: It also stands on its own merits as a satisfying entertainment that could easily find a receptive audience among folks who’ve never seen, or even heard of, such golden oldies as Seven Ways from Sundown or Gunfight at Comanche Creek.” – Joe Leydon, Variety
“[A] stellar example of how good the contemporary western genre can be.” – Erin Free, FILMINK
“Its story doesn’t break new ground or reshape the genre. Yet the storytelling is solid and efficient. And there is enough mystery and intrigue to keep us involved.” – Keith Garlington, Keith & the Movies
rated r for violence, language, and some sexual material.
A Good Girl’s Guide to Murder: Season 1
17-year-old Pip Fitz-Amobi (Emma Myers) and her friends investigate the 2019 disappearance of fellow student Andie Bell in the mystery series based on Holly Jackson novel of the same name adapted by Poppy Cogan.
“Whether you’re a fan of the book or venturing into the world of AGGGTM for the very first time, this is a killer series that will almost certainly return for future seasons.” – Abby Robinson, Radio Times
“A Good Girl’s Guide To Murder rides on the charm of Emma Myers, but there’s also a solid mystery to get to the bottom of, which isn’t always the case in shows like this.” – Joel Keller, Decider
“The series is equal parts clever mystery and classic teen tropes—from a budding romance between unlikely partners to navigating a newfound sense of adolescent rebellion—with a delightful dash of quizzicality thrown in.” – Nadira Goffe, Slate
rated tv-ma. contains strong language, bloody images, sexual material including assault, teen drinking & drug use.
Locked
A thief breaking into a luxury SUV realizes that he has slipped into a sophisticated game of psychological horror.
“Locked is a really slick, tightly-spun crime thriller that seems to take a good deal of inspiration from Joel Schumacher’s Phone Booth.” – Luna Guthrie, Collider
“A compact, tense movie with only five speaking parts, this effective thriller taps a bit into contemporary cultural divides and social anxiety to make the most of its cat-and-mouse game.” – Jeffrey M. Anderson, Common Sense Media
“Locked isn’t unique if you’ve seen 4×4, but it also goes in unexpected directions. It’s a lot like the Steven Knight-written and directed drama Locke starring Tom Hardy took one of the violently pumping gears out of Quentin Tarantino’s Death Proof.” – Chris Sawin, Bounding Into Comics
rated r for strong violent content / bloody images, language throughout, and brief drug use.
Freaky Tales
Set in 1987 Oakland, Freaky Tales is a multi-track mixtape of colorful characters — an NBA star, a corrupt cop, a female rap duo, teen punks, neo-Nazis, and a debt collector — on a collision course in a fever dream of showdowns and battles.
“Freaky Tales is a genre-defying riot. Come for the crazy mix tape of circuitously connected plotlines, stay for the joyous explosion of vintage breakdancing on the end credits.” – David Rooney, The Hollywood Reporter
“Writer/director duo Anna Boden and Ryan Fleck present an ode to individualism in this ’80s-set anthology that’s humorous, violent and highly entertaining.” – Martin Unsworth, Starburst
“That the movie is ‘only’ a silly romp makes it all the more charming to watch Boden and Fleck find a less mechanical, less programmatic way to have fun.” – Jesse Hassenger, AV Club
rated r for strong bloody violence, language throughout including slurs, sexual content, and drug use.
Vermiglio
The lush and breathtaking beauty of the Alps, filmed with painterly grace under natural light from frigid winter to redemptive spring, provides the physical and emotional backdrop for Vermiglio, Maura Delpero’s visionary film, which won the Silver Lion at the 2024 Venice Film Festival. This singular portrait of a sprawling family, set in the small, mountainous village of Vermiglio during the waning days of WWII, follows a series of dramatic, consequential events after the arrival of a taciturn Sicilian soldier (Giuseppe De Domenico), who hides out in town after deserting the army. While there, the soldier develops a romance with the family’s eldest daughter, Lucia (Martina Scrinzi).
“The remarkable, raw-boned and ravishing Vermiglio takes place in the past but operates like a future family secret playing out in the present tense.” – Jessica Kiang, Variety
“Vermiglio is so devoted to evoking a time and place that much of its subtlety does not become apparent until a second viewing. It is a rich, enveloping film that asks viewers to approach it as if tiptoeing through the snow.” – Ben Kenigsberg, New York Times
“The film’s initial lightness and peace gradually give way to a bleakness, a sense of entrapment, that seeps beneath the skin. Catholic representations onscreen have often recognized the religion’s dedication to aesthetic beauty. While Vermiglio indulges in plenty of such, it also takes a clear-eyed look at the social structures it serves to camouflage.” – Lucia Ahrensdorf, The Film Stage
not rated. contains thematic content, brief nudity, mild sexual references, and smoking.
Sovereign
A father and his teenage son — Jerry and Joseph Kane (Nick Offerman and Jacob Tremblay) — follow the Sovereign Citizen belief system, a deeply anti-establishment worldview rooted in distrust of government authority. As the pair travel across the country delivering self-taught legal seminars and pushing back against systems they believe have failed them, their journey brings them into conflict with Police Chief Jim Bouchart (Dennis Quaid), setting off a tragic chain of events that forces a reckoning with power, principle, and the limits of freedom. Inspired by true events.
“The movie is a real-world thriller that’s also a riveting character study that’s also a portrait of the place where the reactionary politics of today curdles into obsession.” – Owen Gleiberman, Variety
“Sovereign is some of Offerman’s most complex and disturbing work. It’s a fine film, too.” – William Bibbiani, The Wrap
“Offerman’s Jerry Kane is a villain for the ages, a man with a point of view that more people share than we’d like to believe. He makes Sovereign must-see cinema for understanding not just a ‘type,’ but a movement and a moment, and just where they’re taking us if we let them.” – Roger Moore, Movie Nation
rated r for violence and language.
Starve Acre
When their son starts acting strangely, a couple (Matt Smith and Morfydd Clark) unwittingly allow dark and sinister forces into their home, awakening a long-dormant ancient evil rooted deep in the countryside.
“Daniel Kokotajlo‘s impressive second feature unfolds in a vein of British folk horror that has been popular of late — with films from Ben Wheatley’s A Field in England to Mark Jenkins’s Enys Men all tapping into that retro Wicker Man eeriness — but rarely with such rattling sensory specificity or formal refinement.” – Guy Lodge, Variety
“Aiming for authenticity, Kokotajlo finds supernatural power and dramatic weight in the genre’s rustic simplicity.” – Matt Schimkowitz, AV Club
“Starve Acre is an undeniably impressive addition to this mini-movement, but it’s perhaps one that works better as a slow-burning aesthetic exercise than as either a nerve-rattling horror or an excavation of national myth, history, or identity.” – Michael Leader, Little White Lies
not rated. contains some strong language, violence, bloody images, sexual content, threat, and thematic content.
High Tide
Heartbroken and adrift, undocumented Brazilian immigrant Lourenço searches for purpose in the queer mecca of Provincetown. As the summer season comes to a fade, he sparks an intense and unexpected romance with Maurice. Together, the two reconcile the pasts they’ve left behind and their uncertain futures.
“A haunting lead performance from Marco Pigossi, steeped in melancholy and raw pain but also in moments of openness, optimism and even joy, helps make High Tide an affecting portrait of untethered gay men seeking meaningful connections.” – David Rooney, The Hollywood Reporter
“With his exceptionally lived-in performance, Pigossi brings Lourenço’s heartbreaking emotions to life, making even the script’s contrivances feel natural.” – Chris Azzopardi, New York Times
“There are multiple knockout supporting performances, and the film has a gift for giving you just enough of the supporting characters to fill them out in your imagination whenever Lourenço leaves their presence.” – Matt Zoller Seitz, RogerEbert.com
rated r for sexual content, graphic nudity, drug use, and language.
The library does not receive payment for inclusion on this list.
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