Superman
Follows the titular superhero as he reconciles his heritage with his human upbringing. He is the embodiment of truth, justice and a brighter tomorrow in a world that views kindness as old-fashioned.
“[An] action-packed blast, full of hope and kindness, that reminds us why we fell in love with the character in the first place and doesn’t shy away from portraying what makes him ‘human’… This is exactly the sort of Superman we all need right now.” – Sean Farrell, AFPL Journal
“The miracle of Superman is that, in 2025, it’s a superhero movie that inspires genuine delight.” – Alonso Duralde, The Film Verdict
“As an introduction to the rebooted DC Universe, Superman is zippy blockbuster fun. But amidst all its cartoon absurdity, it might just inspire people to make a difference in this universe.” – Reuben Baron, Looper
rated pg-13 for violence, action, and language.
Jurassic World: Rebirth
Five years after the events of Jurassic World: Dominion, the planet’s ecology has proven largely inhospitable to dinosaurs. Those remaining exist in isolated equatorial environments with climates resembling the one in which they once thrived. The three most colossal creatures across land, sea and air within that tropical biosphere hold, in their DNA, the key to a drug that will bring miraculous life-saving benefits to humankind. Skilled covert operations expert Zora Bennett (Scarlett Johansson) is contracted to lead a skilled team on a top-secret mission to secure the genetic material. When Zora’s operation intersects with a civilian family whose boating expedition was capsized by marauding aquatic dinos, they all find themselves stranded on a forbidden island that had once housed an undisclosed research facility for Jurassic Park. There, in a terrain populated by dinosaurs of vastly different species, they come face-to-face with a sinister, shocking discovery that has been hidden from the world for decades.
“With striking visuals, heart-pounding action, some genuinely frightening new dinos, and well-utilized homages to its predecessors, Jurassic World: Rebirth is a welcome return to form for the series… It’s a blast of escapist adventure perfectly suited for the Summer movie season that, while formulaic, is still far better than the seventh film in a franchise has any right to be.” – Sean Farrell, AFPL Journal
“Edwards (director of 2016’s Rogue One: A Star Wars Story and the 2014 Godzilla) and Koepp (who wrote the scripts for the first two Jurassic Park movies) know what they’re doing here: they locate the perfect ratio of human business to dinosaur antics, favoring the dinosaurs when in doubt.” – Stephanie Zacharek, Time
“The craft is exemplary – it’s easily the best-looking, best-sounding film since the first. But it takes a deep, personal love of the medium for a director to deliver such crunchy impact, thrills, spills and euphoric highs while treading anew in footsteps as craterous (and muddy) as they come. If it’s not the blockbuster of the summer, I’ll be amazed.” – Robbie Collin, The Telegraph
rated pg-13 for intense sequences of violence / action, bloody images, some suggestive references, language, and a drug reference.
The White Lotus: Season 3
This social satire is set at an exclusive Thai resort and follows the exploits of various guests and employees over the span of a week.
“The White Lotus Season 3 smashes each character’s flimsy values in ways both hilarious and harrowing. They cannot outrun their pain, but in White’s transfixing, exacting new season, their pain can still become our pleasure.” – Ben Travers, IndieWire
“White takes full advantage of his setting in a manner that brings it to life in ways that even the last two gorgeous settings didn’t produce. The way he constructs his episodes, not just narratively but visually, is arguably without peer on TV right now. He somehow finds a way to capture the opulence and beauty of Thailand while never losing the realism of the stories he’s telling there.” – Brian Tallerico, RogerEbert.com
“I gobbled down six of the eight episodes available for review, and will say – without even the slightest reservations – that Lotus regulars should check in for this third season. You won’t be disappointed. Just be prepared to get your jaw dropped and your raised eyebrows torched right off.” – Randy Myers, The Mercury News
rated tv-ma. contains strong language throughout, strong sexual content, nudity, strong violence, drug use, and thematic material.
The Last of Us: Season 2
Five years after their perilous journey together, Ellie and Joel have begun a new life in the settlement of Jackson. Living in peace has its own problems for the pair of hardened travelers who have been on high alert for so long. Just as they settle into their new normal, a shocking event tears them apart. Suddenly, Ellie finds herself on a new journey searching for an elusive justice in the rubble of post-pandemic America.
“If the first season of The Last of Us proved that this was the best video game adaptation ever, Season 2 reinforces that further while also creating one of 2025’s best seasons of TV.” – Ross Bonaime, Collider
“Moving and devastating in equal doses, The Last Of Us remains post-apocalyptic television at its peak. At almost every turn, it delivers. Pray to the video-game-adaptation gods that Season 3 sticks the landing.” – John Nugent, Empire
“Bloody, packed with bombshells and brimming with tragedy, it takes all that was best about series one and cranks it up to the absolute maximum.” – Ed Power, The Telegraph
rated tv-ma. contains graphic violence, pervasive language, sexual material, thematic content, and smoking.
Materialists
A young, ambitious New York City matchmaker finds herself torn between the perfect match and her imperfect ex.
“Moving on from its cynical beginning, Materialists takes the long way around to an ending that is decidedly hopeful. It offers an unblinkered, earned romanticism that suits this moment, and bolsters Song’s reputation as one of our most astute observers of relationships.” – Caryn James, BBC
“From a distance, Materialists seems like a straightforward love-triangle rom com, but Celine Song transforms it into a meaningful, introspective drama about self-worth.” – Siddhant Adlakha, IGN
“If you’re seeing it with hopes of glittery escapism, based on its A-list stars and a trailer that prominently features a cover of Madonna’s ‘Material Girl,’ be prepared that the result is a little sadder, a little more substantial. And that’s much of what’s so wonderful about it.” – Christy Lemire, RogerEbert.com
rated r for language and brief sexual material.
28 Years Later
It’s been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. One such group of survivors lives on a small island connected to the mainland by a single, heavily-defended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well.
“…one of the more interesting movies of 2025.” – Sean Farrell, AFPL Journal
“The sense of hallucinogenic sweatiness won’t be to everyone’s taste but [Garland] and Boyle should be applauded for taking such big swings and having the flair and confidence to pull them off. It’s an astonishing piece of work.” – Ed Potton, The Times
“It’s a horror-movie coming-of-age story, absolutely bonkers and gory and at its heart an art film about finding your own way in a world that has never made any sense since you’ve been in it, which is probably what the world feels like to any kid growing up, only most kids don’t have to protect themselves from zombies who want to devour them.” – Bill Goodykoontz, Arizona Republic
rated r for strong bloody violence, grisly images, graphic nudity, language, and brief sexuality.
Ballerina
Taking place during the events of John Wick: Chapter 3 – Parabellum, the film follows Eve Macarro (Ana de Armas) who is beginning her training in the assassin traditions of the Ruska Roma.
“There’s no need to yearn for a female 007 or a woman Wick anymore – just hope for another film that’s all about Eve.” – Brian Truitt, USA Today
“Ballerina is actually great fun, a propulsive, pulpy gun-fu joy that revels in the things the early John Wick did so well: stunts and absurd world-building.” – Francesca Steele, i
“Of course, Ballerina is not deeply cerebral cinema; rather, it’s goofy fun, but the filmmakers have elevated violence to a fine art, and it does play like a ballet in the elegant precision and breathtaking physicality of the performances. Enjoy it for what it is, and buckle up for an intense thrill ride.” – Bradley Gibson, Film Threat
rated r for strong / bloody violence throughout, and language.
M3GAN 2.0
Two years after M3GAN, a marvel of artificial intelligence, went rogue and embarked on a murderous (and impeccably choreographed) rampage and was subsequently destroyed, M3GAN’s creator Gemma (Allison Williams) has become a high-profile author and advocate for government oversight of A.I. Meanwhile, Gemma’s niece Cady (Violet McGraw), now 14, has become a teenager, rebelling against Gemma’s overprotective rules. Unbeknownst to them, the underlying tech for M3GAN has been stolen and misused by a powerful defense contractor to create a military-grade weapon known as Amelia (Ivanna Sakhno), the ultimate killer infiltration spy. But as Amelia’s self-awareness increases, she becomes decidedly less interested in taking orders from humans. Or in keeping them around. With the future of human existence on the line, Gemma realizes that the only option is to resurrect M3GAN (Amie Donald, voiced by Jenna Davis) and give her a few upgrades, making her faster, stronger, and more lethal. As their paths collide, the original A.I bitch is about to meet her match.
“M3GAN 2.0 is more absurd, self-aware silliness: a riot of timely tech paranoia, with almost no horror but a ton of successful comedy. Slay, queen!” – John Nugent, Empire
“It’s bigger, brasher, more inventive, more ‘roboty’, certainly more entertaining, but missing just a sliver of the first instalment’s raw-bones charm.” – Kevin Maher, The Times
“It’s a magpie movie that’s happy to give audiences the tinselly things they want — i.e., two robots clobbering the Wi-Fi out of each other. But Johnstone creates openings for his own shaggy sense of humor. I’m excited to keep tabs on the promising New Zealander.” – Amy Nicholson, Los Angeles Times
rated pg-13 for strong violent content, bloody images, some strong language, sexual material, and brief drug references.
Flow
A wondrous journey, through realms natural and mystical, Flow follows a courageous cat after his home is devastated by a great flood. Teaming up with a capybara, a lemur, a bird, and a dog to navigate a boat in search of dry land, they must rely on trust, courage, and wits to survive the perils of a newly aquatic planet.
“A movie brimming with sentiment but not sentimentality, this is one of the most moving animated films in recent memory, and, beyond that, groundbreaking too.” – Christian Blauvelt, IndieWire
“It’s no secret that the best animated movies can enthrall us in ways every bit as immersive as any live-action film. Flow is a triumphant case in point.” – Peter Rainer, Christian Science Monitor
“A chronicle of a group of animals, sure, but Flow is really about the best aspects of humanity as seen through the lens of these creatures. How living things learn to trust, share, and protect the weakest among them represents the best ideas of life on this planet, and it is what Zilbalodis is interested in here.” – Warren Cantrell, The Playlist
rated pg for peril and thematic elements.
Clown in a Cornfield
Quinn and her father have just moved to the quiet town of Kettle Springs hoping for a fresh start. Instead, she discovers a fractured community that has fallen on hard times after the treasured Baypen Corn Syrup Factory burned down. As the locals bicker amongst themselves and tensions boil over, a sinister, grinning figure emerges from the cornfields to cleanse the town of its burdens, one bloody victim at a time. Welcome to Kettle Springs. The real fun starts when Frendo the clown comes out to play.
“With a strong emotional core, clever gags, memorable kills, and a suitably creepy villain in Frendo, this makes for an above average slasher and a great entry point for genre newcomers.” – Sean Farrell, AFPL Journal
“Good old-fashioned slashers never get old for horror fans as long as they’re done right, and Clown in the Cornfield is like a fresh splatter to the head, with a smile.” – Jason Delgado, Film Threat
“It’s a fun B-movie with timely elements and some exciting kills. It may not be much more than that, but sometimes that’s enough.” – Graeme Guttman, Screen Rant
rated r for bloody horror violence, language throughout, and teen drinking.
The Surfer
A man returns to the idyllic Australian beach of his childhood to surf with his son, but is humiliated by a group of powerful locals and drawn into a conflict that rises with the punishing heat of the summer and pushes him right to his breaking point.
“The film bottles beautifully the neo-noir lightning that flashes down under from time to time, with it’s thrilling presentation of a remote beach town that has gone seriously wrong. The rest of it is often mystifying, sometimes maybe just indecisive, but it soon makes you question what you see with some pretty witty plotting.” – Perry Norton, Film Threat
“Lorcan Finnegan’s smart survival thriller The Surfer sets a brutal, sun-soaked stage for star Nicolas Cage to do what he does best: go completely nuts.” – Lex Briscuso, IGN
“Crisply scripted by Thomas Martin and directed by Finnegan with a pleasing, no-frills intensity, The Surfer feels resolutely old-school. It’s a low-budget, hard-hitting comic bruiser of a picture: a midlife-crisis movie dressed up as a 1970s exploitation flick.” – Xan Brooks, The Observer
rated r for language, suicide, some violence, drug content, and sexual material.
The Life of Chuck
A life-affirming, genre-bending story based on Stephen King’s novella about three chapters in the life of an ordinary man named Charles Krantz.
“It’s one of this year’s best movies. I don’t know how it will fare at the box office, but I can see it becoming a beloved favorite in the same way The Shawshank Redemption ultimately did. Like that classic, this one really makes you think about life and the things we take for granted.” – Odie Henderson, Boston Globe
“If you want to go for the really scary stuff, there are plenty of other King movies for that. Chuck instead is something truly special, a moving fantasy of a life well lived and no dance step left untaken.” – Brian Truitt, USA Today
“Dancing between the ruminative and the revelatory, it never succumbs to being maudlin or cloying. The Life of Chuck is a modern fable told with the deftness of a fairy tale, with the sheer exuberance of a musical while exuding the same sense of wonder one gets staring up at the heavens.” – Jason Gorber, Collider
rated r for language.
Misericordia
Jérémie returns to his hometown for the funeral of his former boss, the village baker. He decides to stay for a few days with Martine, the man’s widow. A mysterious disappearance, a threatening neighbor and a priest with strange intentions make Jérémie’s short stay in the village take an unexpected turn.
“What a miracle of a movie.” – Ryan Lattanzio, IndieWire
“A striking meditation on repressed desires, guilt, the merits of punishment versus forgiveness, and who should be allowed to decide which is proffered; this is the sort of film that makes the viewer want to find someone to discuss the little details with as soon as it ends. Elegantly strange, thought-provoking, and haunting, Misericordia is a genuine masterwork of a movie.” – Sean Farrell, AFPL Journal
“For all its morbid undertones and philosophical ruminations, Misericordia is neither a dirge nor a lofty symposium. Strange as it may be to say for a story that begins with a burial and then shatters after a heinous death, this is a supremely and surprisingly funny film, where humor gradually accrues a subversiveness not unlike desire’s own.” – Leonardo Goi, The Film Stage
not rated. contains graphic nudity, violence, bloody imagery, thematic material, and language.
40 Acres
After a plague eradicates all animal life, famine spreads across the globe leaving society at war and in ruins, but the Freemans are surviving — even thriving — on their ancestral farm so long as they dispatch the occasional raiding party. But what good is surviving the end of the world if it means snuffing out your own humanity? Former soldier Hailey (Danielle Deadwyler) made that choice years ago, believing that isolation was the only way to protect her family. She and her partner Galen (Michael Greyeyes) fled the collapse along with their children, fenced them off from the world and trained them to fight (and, yes, kill). But now Hailey’s eldest Emanuel (Kataem O’Connor) is a young man, and when he meets a young woman (Milcania Diaz-Rojas) in the forest beyond the fence, his need for human contact could place the whole family in jeopardy.
“This is a movie to see and a director to watch.” – Ty Burr, Washington Post
“The depth of [Thorne’s] characters, brought to life by a terrific cast, and tactile world building are what set 40 Acres apart. The setting feels authentic; you could imagine yourself living on this farm with this family.” – G. Allen Johnson, San Francisco Chronicle
“40 Acres is a top-tier genre film that Trojan-horses a flood of knotty, provocative conversations into multiplexes via the best kind of speculative fiction.” – Barry Hertz, The Globe and Mail
rated r for strong bloody violent content and language.
Absolutely Fabulous: Inside Out
A reflective look at Absolutely Fabulous, one of Britain’s most-loved comic creations set in the glamourous world of fashion PR in the 90s. The star-studded retrospective will see Jennifer Saunders (Edina “Eddie” Monsoon), Dame Joanna Lumley (Patsy Stone), Julia Sawalha (Saffron “Saffy” Monsoon) and Jane Horrocks (Bubble) reunite for the first time since 2001 on an exclusive rampage down memory lane to reveal how the show was made, pay tribute to much-missed cast member Dame June Whitfield (Mother) and celebrate its ground-breaking influence on female comedy.
“…gloriously uplifting… I know there was a camera running and they were essentially performing, but their laughter felt authentic and unscripted.” – Carol Midgley, The Times
“Absolutely Fabulous: Inside Out is a pleasing trip down memory lane… a feast for fans.” – Dónal Lynch, Irish Independent
not rated. contains language, sexual references, drug use, and smoking.
Diane Warren: Relentless
Diane Warren: Relentless is a groundbreaking documentary that reveals the unique genius of a woman who has shaped an entire generation of music. Having written over 400 songs for iconic artists such as Beyoncé, Taylor Swift, Celine Dione, Lady Gaga, Whitney Houston, Britney Spears, and Aerosmith, Diane Warren resides in the pantheon of music greats. This is her untold story.
“Even if you don’t care for Warren’s tunes, this movie is likely to make you a fan.” – Glenn Kenny, New York Times
“Blunt, brassy and chatty, she makes for a refreshingly open host of her own life story.” – Kyle Smith, Wall Street Journal
“For Oscar obsessives, the access and behind-the-scenes intrigue found in the film will make Diane Warren: Relentless essential viewing.” – Cody Dericks, Next Best Picture
Magpie
The lives of married couple Anette (Daisy Ridley) and Ben (Shazad Latif) begin to fracture when their daughter is cast alongside a glamorous movie star, Alicia (Matilda Lutz). As Anette’s suspicions of Ben’s infatuation with Alicia intensify, all their secrets and lies threaten to burst to the surface and destroy them all.
“A thriller that starts solidly enough and picks up steam before blowing the doors off with an outstanding ending, Magpie is one of those rare films that feels both fresh and alive while building off classic genre works of the past.” – Chase Hutchinson, Collider
“Magpie turns certain tropes into narrative weapons, and it works at every turn, culminating in a finale that will leave you wanting more even as it gives us a tension-fueled conclusion.” – Mae Abdulbaki, Screen Rant
“A lean, mean revenge thriller that knows exactly what it’s about, Magpie has little originality but an invigorating clarity of purpose.” – Jeannette Catsoulis, New York Times
not rated. contains strong language, sexual content, thematic material, and bloody images.
The Wasp
Estranged friends Carla (Natalie Dormer) and Heather (Naomie Harris) reunite over tea, only to unveil a dangerous and deceptive plot that will irrevocably alter their lives. As the two navigate a web of secrets and hidden agendas, the true nature of their meeting slowly comes to light, revealing a shocking and perilous reality that neither could have anticipated.
“Pitch-perfect performances elevate this magnificent film that I can’t say enough good things about.” – Mae Abdulbaki, Screen Rant
“It’s disturbing and uncomfortable, but it’s certainly never boring. At the very least, The Wasp will stick with you long after the credits roll.” – Michael Boyle, /Film
“Watching Harris and Dormer create this event together is why I love going to the movies. In that elegant, horrible townhouse, anything could happen. And anything does.” – Sheila O’Malley, RogerEbert.com
rated r for some violence, sexual assault, and language.
Escape
After completing his required decade of military service and being honored as a hero, a North Korean sergeant makes a sudden shocking attempt to defect to the South, risking life and limb for the chance to finally determine his own destiny.
“The leads are compelling, the action furious and the suspense right on the edge of riveting, which is more than enough to make this Escape an odyssey we want to take with these people who want to decide their own future, rather than having a failing totalitarian state do it for them.” – Roger Moore, Movie Nation
“A great surprise and a delight… One of the most entertaining films I’ve seen in a long time.” – Lael Loewenstein, FilmWeek
“Clocking in at a brisk 94 minutes, Escape, much like our hero, doesn’t pause to catch its breath. Just when you think Lim will get a break, (director) Lee Jong-Pil throws in another twist to crank up the tension up until the last minute.” – Cary Darling, Houston Chronicle
not rated. contains violence.
We Can Be Heroes
A group of teens find belonging at a LARP camp, building a fantasy world facing climate disaster. Through roleplaying heroes facing apocalypse, they find strength to heal past trauma and emerge empowered in life.
“We Can Be Heroes is a documentary that makes your heart swell and makes you instantly protective of its young subjects, except that for over 86 minutes you watch those subjects slay demons and reshape a dying universe.” – Daniel Fienberg, The Hollywood Reporter
“With delicate care and respect for their subjects and the other campers, [co-directors] Wong & Simmons not only show us that play shouldn’t be restricted within a specific framework, but that the gains from it far outweigh any social pressure to conform.” – Douglas Davidson, Elements of Madness
“We Can Be Heroes lives up to its name in more ways than one by showing campers how each exists as their own hero, providing a place where dreams briefly become reality, and helping all who set foot within find their way.” – Brian Farvour, The Playlist
not rated.
AGGRO DR1FT
Breaking away from the traditional parameters of cinema, AGGRO DR1FT explores the onslaught of digital ephemera and interrogates modern life through the vernacular of video games. Shot entirely through an infrared lens, the film follows a Miami Beach hitman as he embarks on the relentless pursuit of his next target.
“Destined to be passionately adored and despised, it’s a provocation, a stunt, a dare, and an experiment—as well as a bold one-of-a-kind experience that… shouldn’t be missed.” – Nick Schager, The Daily Beast
“A gimmicky-sounding setup that, to no one’s greater surprise than my own, results in some of the most arresting visuals in recent memory.” – Michael Nordine, Film Occasionally
“The results are as pointedly nihilistic as they are nakedly existential; if the film reaches toward futurity in the manner of its creation, Korine’s vision is nevertheless one of a fully derealized purgatory.” – Isaac Feldberg, Inverse
not rated. contains pervasive language, graphic violence, sexual material, thematic content, and smoking.
The library does not receive payment for inclusion on this list.
Plot summaries are provided by the films’ respective studios or distributors.
-
-
-
-
-