New Movies at the Library

Hamnet

Hamnet tells the powerful story of love and loss that inspired the creation of Shakespeare’s timeless masterpiece, Hamlet.

“Is it baldly manipulative with our emotions? Maybe. But who really cares when it works so well and feels so cathartic to experience… For anyone who has endured great loss—or fears its inevitability—Hamnet is a shattering, transcendent experience.” – Sean Farrell, AFPL Journal

“Ultimately, the filmmaker invites the world to feel loss in a new way, and in letting go, liberates something fundamental in all of us.” – Peter Debruge, Variety

“With an aching heart, lush visuals, and magnetic acting, Hamnet is undoubtedly one of the best movies of the year and will continue to resonate with audiences for years to come.” – Rachel LaBonte, Screen Rant

“Like Nomadland, another film that maps out rocky terrain with impressionistic grace, Hamnet is a deep-felt ode to loss and resilience. Zhao doesn’t just tell you about the healing power of art, she shows you. Prepare your tear ducts accordingly.” – Phil de Semlyen, Time Out

rated pg-13 for thematic content, some strong sexuality, and partial nudity.

Zootopia 2

Detectives Judy Hopps (voiced by Ginnifer Goodwin) and Nick Wilde (voiced by Jason Bateman) find themselves on the twisting trail of a mysterious reptile who arrives in Zootopia and turns the mammal metropolis upside down. To crack the case, Judy and Nick must go undercover to unexpected new parts of town, where their growing partnership is tested like never before.

“Hilarious, suspenseful, gorgeous to look at, and genuinely touching, this is one of the year’s best family films and a must-see…” – Sean Farrell, AFPL Journal

“Every bit as exciting and heartwarming and imaginative as the Oscar-winning original and maybe even funnier.” – Nell Minow, RogerEbert.com

“It preserves the believe-in-yourself mythos of its predecessor, but smoothly addresses the problems baked into Zootopia’s overly sunny portrayal of local government. It doesn’t regurgitate old jokes, but builds on them, and even makes them funnier.” – Aisling Murphy, The Globe and Mail

rated pg for action / violence and rude humor.

The Housemaid

Trying to escape her past, Millie (Sydney Sweeney) accepts a job as a live-in housemaid for the wealthy Nina (Amanda Seyfried) and Andrew Winchester (Brandon Sklenar). But what begins as a dream job quickly unravels into something far more dangerous — a sexy, seductive game of secrets, scandal, and power. Behind the Winchesters’ closed doors lies a world of shocking twists that will leave you guessing until the very end. Based on the book by Freida McFadden.

“The Housemaid is a delightful hall of mirrors in which reality turns out to be subject to infinite modification.” – Kyle Smith, Wall Street Journal

“Glorious, angry, hilarious, nail-biting fun from a director, writer and cast who all know exactly what they’re doing, and relish in the fact that they’re practically getting away with murder.” – William Bibbiani, The Wrap

“Seyfried reads the tone of this hokum better than anyone, and knows restraint is hardly called for, using every excuse in the book to go completely bananas.” – Tim Robey, The Telegraph

rated r for strong / bloody violent content, sexual assault, sexual content, nudity, and language.

Killers of the Flower Moon

At the turn of the 20th century, oil brought a fortune to the Osage Nation, who became some of the richest people in the world overnight. The wealth of these Native Americans immediately attracted white interlopers, who manipulated, extorted and stole as much Osage money as they could before resorting to murder. Based on a true story and told through the improbable romance of Ernest Burkhart (Leonardo DiCaprio) and Mollie Kyle (Lily Gladstone), Killers of the Flower Moon is an epic western crime saga, where real love crosses paths with unspeakable betrayal.

“DiCaprio is perfectly cast as the slightly simple-minded Ernest and he uses all of his natural charisma to make us root for a character who is ostensibly a villain. Gladstone steals the movie however, and her performance as the strong-willed but long-suffering Mollie is measured and masterful.” – Sean Farrell, AFPL Journal

“Above all, it’s a Martin Scorsese picture, brimming with reverence for a culture that survived a horrible trauma as it is filled with exhilarating flourishes, film history references, and explorations of the faultline between the sacred and profane. And yes: It’s a masterpiece.” – David Fear, Rolling Stone

“There’s a way of looking at this movie, a colossal tale of the sociopathy of American history, that’s a matter of listening to what’s said and what isn’t. The movie raises the idea of silence to a nearly transcendent pitch of passion.” – Richard Brody, The New Yorker

rated r for violence, some grisly images, and language.

Anaconda

Doug (Jack Black) and Griff (Paul Rudd) have been best friends since they were kids, and have always dreamed of remaking their all-time favorite movie: the cinematic “classic” Anaconda. When a midlife crisis pushes them to finally go for it, they head deep into the Amazon to start filming. But things get real when an actual giant anaconda appears, turning their comically chaotic movie set into a deadly situation. The movie they’re dying to make? It might just get them killed.

“The action‑horror beats blend nicely with the sillier humor, earning several genuine laughs and a few solid jolts.” – Sean Farrell, AFPL Journal

“This is at its core a story that understands misguided aspirations. Yes, they’re ridiculous, but without them there’d never be movies like the ’90s Anaconda — and we wouldn’t have this Anaconda to enjoy.” – Bob Strauss, San Francisco Chronicle

“Anaconda taps into a sweet spot that’s just edgy enough to make adults laugh and just family friendly enough to let kids have a good time with their parents too. It’s hilarious, harmless, and puts a fun spin on a familiar formula, even if the snake still looks fake as hell.” – Ethan Anderton, /Film

rated pg-13 for violence / action, strong language, some drug use, and suggestive references.

David

In a kingdom torn by fear and corruption, a shepherd boy is called to stand against a giant and the darkness behind him. With nothing but faith, courage, and a sling, he defies an empire and awakens the heart of a nation. From the quiet hills of Bethlehem to the roar of the battlefield, his journey will shape kings, test hearts, and reveal that the greatest strength is found in trust, not power.

“A well-produced, visually impressive, character-driven fable about the man who would be king.” – Richard Roeper, RogerEbert.com

“Ultimately, David is a strong, solid film for kids.” – Alan Ng, Film Threat

“It comes off, it plays and it entertains. And the impressive, high-end Sunrise Animation Studio production values — realistic landscapes, clever character designs and the scale of a capital city under construction (Gibeah, pre-Jerusalem) — are just the icing on the cake.” – Roger Moore, Movie Nation

rated pg for action / violence and some scary images.

The Running Man

In a near-future society, The Running Man is the top-rated show on television—a deadly competition where contestants, known as Runners, must survive 30 days while being hunted by professional assassins, with every move broadcast to a bloodthirsty public and each day bringing a greater cash reward. Desperate to save his sick daughter, working-class Ben Richards (Glen Powell) is convinced by the show’s charming but ruthless producer, Dan Killian (Josh Brolin), to enter the game as a last resort. But Ben’s defiance, instincts, and grit turn him into an unexpected fan favorite—and a threat to the entire system. As ratings skyrocket, so does the danger, and Ben must outwit not just the Hunters, but a nation addicted to watching him fall.

“The full-throttle action sequences are numerous and thrilling and Powell’s natural charisma helps make Ben an easy character to root for.” – Sean Farrell, AFPL Journal

“The Brit who brought us such violent delights as Shaun of the Dead and Baby Driver has just the right mixture of empathy and impishness to turn King’s cautionary tale into a would-be blockbuster with integrity.” – Chris Klimek, Washington Post

“Edgar Wright’s biggest film yet feels like something out of both the future and the 1980s: a scathing satire that’s also a lot of fizzy blockbuster fun.” – John Nugent, Empire

rated r for strong violence, some gore, and language.

Good Boy

Our canine hero, Indy, finds himself on a new adventure with his human owner—and best friend—Todd, leaving city life for a long-vacant family home in the country. From the start, two things are abundantly clear: Indy is wary of the creepy old house, and his affection for Todd is unwavering. After moving in, Indy is immediately vexed by empty corners, tracks an invisible presence only he can see, perceives phantasmagoric warnings from a long-dead dog, and is haunted by visions of the previous occupant’s grim death. When Todd begins succumbing to the dark forces swirling around the house, Indy must battle a malevolence intent on dragging his beloved Todd into the afterlife.

“Sweet, sad, tense, and engaging with some genuinely creepy moments and one of the greatest canine actors of all time, this will wind up being a Halloween favorite for a lot of people (and their furry friends).” – Sean Farrell, AFPL Journal

“This is assured horror filmmaking. Heartbreaking too: Anyone who’s held a pet as comfort from pain or despair should have tissues at hand.” – Erik Piepenburg, New York Times

“If you’ve ever been a dog owner and you’ve ever been nervous about what’s out there in the shadows, then more than likely, you’ve appreciated the company of a good dog by your side. Good Boy gives you that feeling when you’re watching it, and quite frankly, there were a couple of times when I reached for my own dog to give her a reassuring scratch behind the ears.” – John Kirk, Original Cin

“Yes; it stars a dog–but it’s also one of the year’s most potently unnerving and emotionally resonant horror films at the same time.” – Jim Vorel, Paste

rated pg-13 for terror, bloody images, and strong language.

The SpongeBob Movie: Search for SquarePants

SpongeBob and his Bikini Bottom friends set sail in their biggest, all-new, can’t miss cinematic event ever… The SpongeBob Movie: Search for SquarePants. Desperate to be a big guy, SpongeBob sets out to prove his bravery to Mr. Krabs by following The Flying Dutchman – a mysterious swashbuckling ghost pirate – on a seafaring comedy-adventure that takes him to the deepest depths of the deep sea, where no Sponge has gone before.

“This movie is a classic of silliness—no ifs, ands, or butts.” – Matt Zoller Seitz, RogerEbert.com

“We all need a really good laugh, and Drymon and company deliver.” – Gregory Nussen, Screen Rant

“The visual gags are fresh, the jokes are funny, the world-building is disarmingly buoyant, and the musical cues, from ‘Holiday in Cambodia’ to ‘Carmina Burana’, are playful.” – Tara Brady, The Irish Times

rated pg for rude humor, action, and some scary images.

Greenland 2: Migration

In the aftermath of a comet strike that decimated most of the earth, Greenland 2: Migration follows the Garrity family (Gerard Butler, Morena Baccarin, and Roman Griffin Davis) as they’re forced to leave the safety of their bunker in Greenland to traverse a shattered world in search of a new home.

“Ric Roman Waugh’s movie is a notable step up from the first film. The Garritys’ traversal across the treacherous North Atlantic Ocean and dashes past marauding bandits in Europe make for real human stakes.” – Robert Daniels, New York Times

“Greenland 2 manages to put itself in a league of its own, proving that, not only can disaster movies avoid being totally nonsensical, but also, there can be something that comes after—and that exploration of what’s next can be just as good as what came before.” – Liz Declan, Screen Rant

“Greenland 2 still feels like a silly disaster pic at times. But it’s a cut above the rest, mostly because it’s less interested in grand spectacle and more focused on everyday people just trying to make it through another damn day. We can all relate to that.” – Chris Evangelista, /Film

rated pg-13 for some strong violence, bloody images, and action.

Is This Thing On?

As their marriage quietly unravels, Alex (Will Arnett) faces middle age and an impending divorce, seeking new purpose in the New York comedy scene while Tess (Laura Dern) confronts the sacrifices she made for their family—forcing them to navigate co-parenting, identity, and whether love can take a new form.

“[A] warm and hilarious comedy drama.” – Ed Potton, The Times

“Like a great routine, beneath the jokes lurks something tender, grounded and real.” – Adrian Horton, The Guardian

“The alchemical collision of the actors, the style, and the real-life settings result in a film so attentive to fluctuations in the characters’ emotions that watching them exist is exciting. You never know what these people will feel next or how they’ll express it, and the camera’s always in the perfect place to catch it.” – Matt Zoller Seitz, RogerEbert.com

rated r for language throughout, sexual references, and some drug use.

Lurker

A retail employee infiltrates the inner circle of an artist on the verge of stardom. As he gets closer to the budding music star, access and proximity become a matter of life and death.

“[A] spellbinding, tense, and thought-provoking film that functions as both a loving homage to and a savage indictment of our current era and the people who are coming of age in it.” – Sean Farrell, AFPL Journal

“Lurker is a teeth-grittingly great dramedy that insists there’s more tension in the entourage of a mellow hipster than a king.” – Amy Nicholson, Los Angeles Times

“Writer-director Russell, a producer and co-writer of TV’s The Bear and Beef, knows his Hollywood existentialism — the dread that you’re not anybody unless you know a Somebody, the easy California vibe that hides gnawing insecurity, the understanding that a friend today can and certainly would cut your throat tomorrow.” – Ty Burr, Washington Post

rated r for language throughout and some sexual content.

Ella McCay

An idealistic young woman juggles her family and work life in a comedy about the people you love and how to survive them.

“Watching Ella McCay can sometimes feel like time travel, particularly for those vested in bygone eras of American filmmaking, but if you’re capable of tuning into its wavelength, an old but worthwhile spirit can be found.” – Vikram Murthi, IndieWire

“It is a movie of moments. But some of those moments are so good, its optimism is so refreshing, its dialogue so bright, and its characters and performances so endearing, it well rewards a watch.” – Nell Minow, RogerEbert.com

“There is a bittersweetness to be seen in Ella McCay, as the movie openly wonders whether hope in our political system is as outdated as everything else. This theme may be fully intentional or it may be coincidental, yet it feels heartfelt in either case.” – Bill Bria, /Film

rated pg-13 for strong language, some sexual material, and drug content.

The Choral

A choral society’s male members enlist in World War I, leaving the demanding Dr. Guthrie to recruit teenagers. Together, they experience the joy of singing while the young boys grapple with their impending conscription into the army.

“A moving account of music as a way of coping with war, as well as keeping it at bay.” – Glenn Kenny, New York Times

“This wintry tale of art blooming in adversity is far from a schematic feel-good jaunt… it’s an anthem for doomed youth in a familiar Bennett key: wry, melancholic, sneakily profound.” – Robbie Collin, The Telegraph

“The Brits do this kind of light and dark juggling act better than almost anybody (see Billy Elliot or The Full Monty), and the filmmakers and their cast deliver a movie that’s perfect for viewing on a lazy Sunday afternoon…” – Odie Henderson, Boston Globe

rated r for some language and sexual content.

Murder Before Evensong

Set in 1988, Canon Daniel Clement (Matthew Lewis), the Rector of Champton, becomes involved in a murder investigation when a dead body turns up in his church in the mystery series based on the first novel by Reverend Richard Coles.

rated tv-14. contains mild language and bloody images.

“The plotting works nicely, with a tidy list of suspects and some well-paced action.” – Anita Singh, The Telegraph

“While the show took a while to get cooking, I’d advise viewers to stick with it – by episode 3, I was totally hooked.” – Megan Bull, Radio Times

“[Matthew Lewis’] chemistry with Amanda Redman, who plays Daniel’s mother, Audrey, is top-notch… Their occasionally prickly bond is built from equal parts snarky banter, emotional repression, and affection, resulting in something that feels unlike almost anything else in this genre space at the moment.” – Lacy Baugher, Paste

Animale

In the Camargue region of the South of France, there remains an infamous, long-standing tradition of bullfighting. Local youths participate in the elegant yet dangerous challenge, practicing a modernized version of the sport that seeks not to kill the animals but rather to showcase agility and dominance. Among them is Nejma, an intrepid twenty-two-year-old with dreams of one day winning the annual competition. The only woman working on the cattle ranch, she trains tirelessly to prove herself equal among the men, both in and outside of the arena. The ranchers share a deep respect for the bulls, though when a loose bull threatens the community of riders and young men begin turning up dead, a hunt to find and kill the creature begins. Nejma fears for the bull, beginning a dark, mysterious transformation of her own.

“Where many movies claim they are celebrating feminine rage, Animale relishes in it.” – Sharai Bohannon, Horror Press

“Animale is the new state-of-the-art for high-end horror. It will have genre fans and art house aficionados weeping black tears of joy worldwide.” – Michael Talbot-Haynes, Film Threat

“Emma Benestan’s poetic take on gender, power and corporeality is a deeply animal experience.” – Jennie Kermode, Eye for Film

not rated. contains strong bloody violence, disturbing images, strong language, and thematic material.

Megadoc

A raw, fly-on-the-wall documentary about Francis Ford Coppola’s decades-long journey in creating his self-financed passion project, Megalopolis. The bold and unrelenting epic returns in Mike Figgis’ portrait of Coppola’s creative process – weaving together archival material, unfiltered cast interviews, and a close-up view of how the legendary filmmaker drew from Roman history, political allegory, and his own singular vision to shape the world of Megalopolis. This isn’t a record of a production on the brink, it’s a personal memoir unfolding in real time.

“Megadoc, whether it’s showing all there is to show or not, is a fascinating exposé of a filmmaker who risked everything so nobody could shoot down his ideas, only to shoot himself in the foot in the process.” – William Bibbiani, The Wrap

“Megalopolis, the film, may not be lots of fun to sit through, but its making-of, Megadoc, is a blast, offering a rare inside glimpse at a major movie artist at work.” – Jordan Mintzer, The Hollywood Reporter

“I still can’t be convinced that Megalopolis is anything other than an (honourable) failure. But Figgis’s documentary is an absorbing success.” – Peter Bradshaw, The Guardian

not rated. contains strong language.

Mistress Dispeller

A Chinese woman hires someone to secretly end her husband’s extramarital relationship in an attempt to save her marriage.

“Mistress Dispeller isn’t really about Wang, or her methods… It’s about the mysteries of the human heart. Its exploration of these subtle depths is sensitive, as are its conclusions.” – Katie Rife, RogerEbert.com

“Lo’s construction of each person’s story grants them dignity and compassion. And their agreement at the end speaks volumes about what they saw in the film, too.” – Alissa Wilkinson, New York Times

“The film is sensitively attuned to how people’s feelings are shaped by cultural norms.” – Ross McIndoe, Slant

not rated. contains language and sexual material.

That They May Face the Rising Sun

Joe and Kate Ruttledge have returned from London to live and work among the small, close-knit community near to where Joe grew up. Now deeply embedded in life around the lake, the drama of a year in their lives and those of the memorable characters around them unfolds through the rituals of work, play and the passing seasons as this enclosed world becomes an everywhere.

“The best Irish film in a long time.” – Tara Brady, The Irish Times

“…beautifully realised and quietly beguiling.” – Allan Hunter, Screen Daily

“By the end of the film, you feel you know these people. You still may be a ‘blow-in,’ but they’ve allowed you access to their inner worlds, they’ve allowed you to see them.” – Sheila O’Malley, RogerEbert.com

not rated. contains strong language and smoking.

OBEX

Conor Marsh lives a secluded life with his dog, Sandy, until one day he begins playing OBEX, a new, state-of-the-art computer game. When Sandy goes missing, the line between reality and game blurs and Conor must venture into the strange world of OBEX to bring her home.

“OBEX is a warm yearn for simpler times, told by a distinctive cinematic voice.” – Ryan Lattanzio, IndieWire

“OBEX is a lo-fi stunner of a video game movie, merging a deeper understanding of the way games work with playful and creative sequences that also pack a deeply emotional punch.” – Chase Hutchinson, IGN

“With fun production elements, a goofy storyline, discordant yet effective sound design, and enough oddness to keep things captivating, traversing through the world of OBEX makes for quite an entertaining journey.” – Jason Gorber, Collider

not rated. contains violence, bloody images, strong language, and nudity.

Kill the Jockey

Once-renowned jockey Remo Manfredi (Nahuel Pérez Biscayart) has run out of track. Perpetually inebriated, hopped up on horse drugs, and in hock to a minor mafioso, Remo seems to have a death wish. His girlfriend and fellow jockey Abril (Úrsula Corberó) is pregnant, but more invested in the libidinous equestrian underworld than in their drab domestic existence. Remo’s only hope of getting out of debt and starting a new life is riding on Mishima, a thoroughbred specially imported from Japan for his next big race. When Mishima leaps over the fence, Remo winds up in the hospital with a life-threatening concussion. Hunted by the mob and replaced in Abril’s bed by the alluring Ana (Mariana Di Girolamo), Remo dons a disguise and finds himself as herself, wandering the streets of Buenos Aires in a striking mink coat and going by the name Dolores.

“Like its magnetic central character, the entertaining latest from Luis Ortega is fascinating: a playful, shape-shifting, questioning journey that refuses to be neatly pinned down.” – Wendy Ide, Screen Daily

“Kill the Jockey’s originality consists not just in taking the clichéd metaphor of rebirth literally, but in casually ratcheting that literalness to ever more fantastical degrees.” – William Repass, Slant

“This ebullient equestrian comedy thriller is effortlessly enjoyable as camp spectacle, with shades of Almodovar in the mix…” – Stephen Dalton, The Film Verdict

not rated. contains graphic nudity, sexual content, strong language, thematic material, drug use, and smoking.

We Were Dangerous

Set in 1954 New Zealand, We Were Dangerous follows Nellie and Daisy, two delinquent girls attempting to escape their institution. After being caught, they are transferred to a remote island facility. There, they form a trio with Lou, a well-to-do newcomer, and together they challenge the authority of the strict Matron. As they rebel against a system, they find strength in their friendship, questioning faith and authority in a world that seeks to control them.

“It’s exciting to see a new voice like Josephine Stewart-Te Whiu’s in We Were Dangerous. Her direction and visual style feel like a breath of fresh air.” – Morgan Rojas, Cinemacy

“By never shying away from those horrors, watching this trio consistently rebel only amplifies the potency of their inspirational battle cry.” – Jared Mobarak, The Film Stage

“A cracking good story and an auspicious directorial debut from filmmaker Josephine Stewart-Te Whiu, this smart coming-of-age drama set at a girl’s reform school in the 1950s sparkles despite its grim narrative underpinnings.” – Liz Braun, Original Cin

not rated. contains language and disturbing content.

Lesbian Space Princess

A space princess is thrust out of her sheltered life and into a galactic quest to save her bounty hunter ex-girlfriend from the Straight White Maliens.

“With its simplistic animation and cynical sensibilities there’s something of a South Park swagger about the storyline, although it also possesses an underlying sweetness and attention to detail that sets it apart.” – James Croot, The Post

“One of the things I love most about this kind of queer filmmaking is the balance between not taking yourself seriously and being genuine. Lesbian Space Princess strikes exactly the right chord, an effervescent yet satisfying romp.” – Tessa Swehla, MovieJawn

“An animated space opera that is as raucous as it is charming, proving that even the most candy-colored worlds can still pack a rebellious, boundary-pushing punch.” – Martin Kudlac, ScreenAnarchy