New Movies at the Library

Send Help

Linda Liddle (Rachel McAdams) and Bradley Preston (Dylan O’Brien), two colleagues who find themselves stranded on a deserted island after they are the only survivors of a plane crash. On the island, they must overcome past grievances and work together to survive, but ultimately, it becomes an unsettling and darkly humorous battle of wills and wits to make it out alive.

rated r for strong / bloody violence and language.

“Perfectly attuned to our era, anchored by stellar performances, highly entertaining, and delivered with a delightfully bloody smirk by one of horror’s best directors, this is an early-year treat.” – Sean Farrell, AFPL Journal

“Wickedly lovable with the potential to be timeless, Send Help is controlled delirium microwaved on high heat.” – Alison Foreman, IndieWire

“A joyous return to form for the Evil Dead auteur, whose no-holds-barred verve is equaled by that of Rachel McAdams.” – Nick Schager, The Daily Beast

2026 Libby Book Awards

The 2026 Libby Book Awards recognize outstanding books and audiobooks from the past year. Filmed March 3 at the Center for Brooklyn History (Brooklyn Public Library), the program is hosted by TV Host Ross Mathews with voiceover by Narrator Daniel Henning. The event celebrates authors, narrators, illustrators, publishers, librarians, and readers.

rated tv-pg. contains mild language and rude humor.

Primate

A group of friends’ tropical vacation turns into a terrifying, primal tale horror and survival.

“Roberts wraps his audience around his finger and then points us in the direction of gruesome, darkly humorous devilry.” – William Bibbiani, The Wrap

“There’s a clear command of how to set up a cool/scary/funny scene, execute, and move on before it’s stale, and that’s a testament to Roberts’ skill as director and co-writer alongside scribe Ernest Riera.” – Jeff Ewing, Collider

“Primate makes a characteristically concise case for Roberts as a genre stylist to keep watching.” – Jesse Hassenger, AV Club

rated r for strong bloody violent content, gore, language, and some drug use.

28 Years Later: The Bone Temple

Dr. Kelson (Ralph Fiennes) finds himself in a shocking new relationship – with consequences that could change the world as they know it – and Spike’s (Alfie Williams) encounter with Jimmy Crystal (Jack O’Connell) becomes a nightmare he can’t escape. In the world of The Bone Temple, the infected are no longer the greatest threat to survival – the inhumanity of the survivors can be stranger and more terrifying.

“This is a unique, exciting, and thought-provoking take on the zombie genre, and is perhaps the first truly great film of 2026.” – Sean Farrell, AFPL Journal

“In spite of the heavy odds stacked against it, 28 Years Later: The Bone Temple is one of those perfect middle entry movies: It elevates what came before and throws down the gauntlet for whatever might follow.” – Jake Kleinman, Polygon

“For genre aficianados, it’s bold, mind-bending work which satisfies that so-often-frustrated craving: for a zombie movie with brains.” – Peter Debruge, Variety

rated r for strong bloody violence, gore, graphic nudity, language throughout, and brief drug use.

Mercy

In the near future, a detective (Chris Pratt) stands on trial accused of murdering his wife. He has 90 minutes to prove his innocence to the advanced A.I. Judge (Rebecca Ferguson) he once championed, before it determines his fate.

“The movie turns out to be a notch or two better than you expect.” – Owen Gleiberman, Variety

“More than anything, this twisty dystopian thriller commits to the jittery anxiety of doomscrolling.” – Eli Friedberg, Slant

“Almost every narrative choice is ludicrous. And yet, Mercy is also a hoot and a half.” – Sonia Rao, Washington Post

rated pg-13 for violence, bloody images, some strong language, drug content, and teen smoking.

Shelter

On a remote coastal island, a reclusive man rescues a young girl from a deadly storm, drawing them both into danger. Forced out of isolation, he must confront his turbulent past while protecting her, sending them on a tense journey of survival and redemption.

“It’s another perfect excuse to shove popcorn in your face as you cheer watching Statham beat some people up.” – Nate Richard, Collider

“Jason Statham knows how to Jason Statham, and as usual, he Jason Stathams Jason Stathamly.” – William Bibbiani, The Wrap

“Neither cheap fast food nor the greatest meal you will ever taste, the Statham Special maintains standards that are a cut above. Helmed by stuntman-turned-director Ric Roman Waugh (Angel Has Fallen), Shelter is sharply paced, violent as heck, palpably shot on location, and laced with Surrogate Dad Pathos.” – Matt Patches, Polygon

rated r for violence and some language.

Good Luck, Have Fun, Don’t Die

A man claiming to be from the future takes the patrons of an iconic Los Angeles diner hostage in search of unlikely recruits in a quest to save the world.

“The cast seem to be having a blast, with Rockwell in particularly relishing every zany moment… imaginative, energetic, and frequently very funny.” – Sean Farrell, AFPL Journal

“At the risk of being hyperbolic, Good Luck, Have Fun, Don’t Die is a great movie. It offers laughs, thrills, and it’s a thinker; you will not be disappointed.” – Alan Ng, Film Threat

“Sam Rockwell excels as a wild man from the future in this deceptively profound satire that holds up a dark mirror to the dangerous game we’re playing with AI. A true film for its time.” – Peter Travers, The Travers Take

rated r for pervasive language, violence, some grisly images, and brief sexual content.

Die, My Love

Grace, a writer and young mother, is slowly slipping into madness. Locked away in an old house in and around Montana, we see her acting increasingly agitated and erratic, leaving her companion, Jackson, increasingly worried and helpless.

“It’s a deeply raw and honest film. It’s bleak, but it also has a musical, black-comic, big-hearted spirit that pulls you through the despair.” – Dave Calhoun, Time Out

“What Lawrence does in Die, My Love is so delicately textured, even within its bold expressiveness, and its fiery anger, that it leaves you scrambling for adjectives. It’s the kind of performance you go to the movies for, one that connects so sympathetically with the bare idea of human suffering that it scares you a little.” – Stephanie Zacharek, Time

“Ramsay articulates the inarticulate, here through her saturated blues, yellows, browns and greens, the colours of grief and sickness and rot… but also new life, summer skies, and hope.” – Hannah Strong, Little White Lies

rated r for sexual content, graphic nudity, language, and some violent content.

Christy

Christy Martin (Sydney Sweeney) never imagined life beyond her small-town roots in West Virginia—until she discovered a knack for punching people. Fueled by grit, raw determination, and an unshakable desire to win, she charges into the world of boxing under the guidance of her trainer and manager-turned-husband, Jim (Ben Foster). But while Christy flaunts a fiery persona in the ring, her toughest battles unfold outside it—confronting family, identity, and a relationship that just might become life-or-death. Based on remarkable true events, Christy Martin’s story is one of resilience, courage, and the fight to reclaim one’s life.

“It’s a wrenching portrait of abuse, enabling, gaslighting, and just how far domestic violence can go. Yet part of the force of it is that Michôd has not contorted Christy Martin’s life into some false arc; what was going on beneath her triumph is portrayed with a desperate and idiosyncratic honesty.” – Owen Gleiberman, Variety

“This is Sweeney’s film. Christy is a career-best turn, sure to draw favourable comparisons with Hilary Swank (who, funnily enough, gets a namecheck in one scene, as Million Dollar Baby was released during the movie’s timespan). She may not be a problematic dude, but she’s certainly Michôd’s most impressive lead performer yet.” – Dan Jolin, Time Out

“In the title role, Sydney Sweeney must be relieved to be giving people a reason to discuss her acting. She’s excellent in the role, small and vulnerable yet tough and fierce, a pink-clad dynamo who is nevertheless beholden to others.” – Kyle Smith, Wall Street Journal

rated r for language, violence / bloody images, some drug use, and sexual material.

V/H/S Halloween

A collection of Halloween-themed videotapes unleashes a series of twisted, blood-soaked tales, turning trick-or-treat into a struggle for survival.

“[T]he wildest movie of the year. If your friend group is suitably ‘messed up’ this will make for some great Halloween party viewing.” – Sean Farrell, AFPL Journal

“I don’t know if I could rightfully say that this is the best V/H/S movie ever. V/H/S/2 would have something to say about that. But it absolutely continues the hot streak the series has been on. If they continue to be this good, the franchise could run forever and I’d be happy about it.” – Ryan Scott, /Film

“V/H/S/Halloween is one of the best entries in this now-annual anthology series because it feels the most tonally consistent (and has maybe the best batting average). Not only are most of the stories tied together with themes of Halloween, like urban legends, bowls of candy, and haunted houses, but they mostly have the same tone: a tongue-in-bloody-cheek sense of humor and willingness to go beyond perceived decorum.” – Brian Tallerico, RogerEbert.com

not rated. contains graphic violence throughout, disturbing images, pervasive language, nudity, sexual content, thematic material, and drug use.

The Ugly Stepsister

In a fairy-tale kingdom where beauty is a brutal business, Elvira battles to compete with her incredibly beautiful stepsister, and she will go to any length to catch the prince’s eye.

“The movie, adapted by the Norwegian filmmaker Emilie Blichfeldt from the Cinderella story, is the opposite of didactic: Slyly funny and visually captivating (the luscious cinematography is by Marcel Zyskind), its scenes move with ease from gross to gorgeous, and from grotesque to magical.” – Jeannette Catsoulis, New York Times

“Contrasting how her female characters feel with the expectations men put on them, Blichfeldt makes clear that impossible beauty standards are the unfairest of them all, whether in the real world or this twisted fictional kingdom.” – Peter Debruge, Variety

“Emilie Blichfeldt combines the classic grotesque horror often associated with Grimm fairytales and injects new life into it with her feminist message and new perspective. Coupled with strong performances — with special praise for lead Lea Myren — this horror flick is well worth a watch. Just maybe don’t watch it after a meal!” – Therese Lacson, Collider

Dust Bunny

Ten-year-old Aurora has a mysterious neighbor (Mads Mikkelsen) who kills real-life monsters. He’s a hit man for hire. So, when Aurora needs help killing the monster she believes ate her entire family, she procures his services. Suspecting that her parents may have fallen victim to assassins gunning for him, Aurora’s neighbor guiltily takes the job. Now, to protect her, he’ll need to battle an onslaught of assassins ― and accept that some monsters are real.

“The mind behind TV’s Hannibal and Pushing Daisies makes his feature directorial debut with Dust Bunny, a wonderfully strange mix of murder, mayhem, and childhood monsters-under-the-bed.” – Liz Braun, Original Cin

“[Fuller’s] whimsical new family-action-adventure film is a lovingly crafted paean to a child’s imagination and a throwback to the glorious family films of the ’80s. It is also visually dazzling beyond all reason with staggering production design.” – Ankit Jhunjhunwala, The Playlist

“Blending horror and humor, sweetness and scares, and fantasy and family melodrama, it shoots for the moon—and, more often than not, scores a bullseye.” – Nick Schager, The Daily Beast

rated r for some violence.

Resurrection

In a future where humanity has surrendered its ability to dream in exchange for immortality, an outcast (Jackson Yee) finds illusion, nightmarish visions, and beauty in an intoxicating world of his own making.

“Resurrection is both testament to the importance of storytelling, as well as the dangers of falling too far within its rabbit hole. But with stories as wrenching and images as evocative as these, why not jump in?” – Gregory Nussen, Screen Rant

“Resurrection, a magnificent intoxicant of a movie from the thirty-six-year-old Chinese director Bi Gan, is no ordinary love letter to cinema. It’s more like a love labyrinth—a multi-tiered maze, full of secret passages, shadowy rooms, and winding staircases, with a giant movie theatre, sculpted from candle wax, waiting at the incandescent finish.” – Justin Chang, The New Yorker

“A tour-de-force of unbound creativity, its silky staging, enchanting performances, and playful inventiveness combining to make it one of the year’s undisputed big-screen highlights.” – Nick Schager, The Daily Beast

not rated. contains bloody violence, strong language, sexual references, thematic material, drug use, and smoking.

Midwinter Break

A longtime couple (Lesley Manville, Ciarán Hinds) takes a life-changing trip to Amsterdam. Based on the acclaimed novel.

“Midwinter Break is most interested in the realities of long-term relationships—with unfaced trauma and graceful forgiveness alike—more than concrete absolutes, which is what makes it a valuable meditation on the imperfection of marriage.” – Tara Bennett, AV Club

“Polly Findlay’s adaptation of Bernard MacLaverty’s 2017 novel is a serious attempt to delve into a complex marriage, and fortunately for such heavy material it contains two winning performances from Manville (so delightful in Mrs. Harris Goes to Paris) and Hinds (Is This Thing On?).” – G. Allen Johnson, San Francisco Chronicle

“Without gimmicks or pomp (save a picturesque setting) and through the supreme talents of Lesley Manville and Ciarán Hinds, it offers up an affecting two-hander about a couple on the brink who’ve never really acknowledged said precipice. As directed with low-key confidence by Polly Findlay, the movie is both good and, in a certain way, good enough.” – Robert Abele, Los Angeles Times

rated pg-13 for thematic material involving alcoholism, some strong language, bloody images, and suggestive material.

Humane

A global environmental collapse forces world leaders to take extreme measures to reduce earth’s population.

“[Caitlin] Cronenberg offers a light touch to the material, spiking the deeply depressing dystopia with a sibling-rivalry battle royale that eagerly, if sometimes wobblily, shifts between sharp humour and slippery sentimentality.” – Barry Hertz, The Globe and Mail

“If Brandon [Cronenberg] absorbed daddy dearest’s predilection for body horror and new flesh, then Caitlin has clearly studied his razor wit and grasp of metaphorical social commentary.” – Richard Whittaker, Austin Chronicle

“Through its dynamic direction, clever script, and stellar, largely Canadian cast, Humane has earned a place in the longstanding genre of ecological thrillers. It’s a fun, bloody reminder not only of how far people will go to save themselves, but to always bring pepper spray to an unexpected family dinner.” – Shaina Weatherhead, Collider

rated r for strong violence, and language throughout.

How to Shoot a Ghost

In this short film directed by Charlie Kaufman and written by Eva H.D., two newly dead young people (Jessie Buckley and Josef Akiki) meet in the streets of Athens, amid the pulsing cityscape and the ghosts of history. One a translator, the other a photographer, they were outsiders in life; in death they struggle with the residue of their longings and mistakes.

“The style and substance of How to Shoot a Ghost both deliver, creating a final product that is both outwardly engaging and internally touching.” – Carson Timar, ButteredPopcorn

“Buckley is charismatic, as ever.” – John Serba, Decider

“It’s fitting that a film about mortality and the afterlife has multiple interpretations, considering that everyone has different a idea about what happens after death.” – Rua Fay, Cinemasters

not rated.

Armand

When defamed actress Elisabeth (Renate Reinsve) is abruptly called into a parent-teacher meeting after hours, she is presented with scathing allegations that trigger a tangled web of accusations between parents and faculty. As Elisabeth struggles to uncover the truth amid the empty school rooms and dark corridors, a chaotic fight for redemption arises where desire, madness and obsession prevail.

“The film starts by promising a bourgeois social drama about secrets and lies, suspicions and rivalries, and the troubled waters of juvenile and adult sexuality. What it ultimately becomes is much harder to define, but the result is resonant and haunting – and should spark plenty of post-screening discussions.” – Jonathan Romney, Screen Daily

“The whole Armand cast is stellar, perfectly conveying the characters’ shifting allegiances and uncertain moral stances.” – Rachel LaBonte, Screen Rant

“The film, set within the bland, institutional corridors of a Norwegian primary school, chronicles a single afternoon that stretches into a surreal purgatory of suspicion, guilt and (finally) something like the compellingly demented choreography of Climax, Gaspar Noé’s dance horror.” – Tara Brady, The Irish Times

rated r for some language and sexual material.

Köln 75

Keith Jarrett’s legendary performance in January 1975 nearly didn’t happen. Based on a true story, Köln 75 follows how the concert was conceived and orchestrated by the efforts of a teenage up and coming concert promoter, Vera Brandes, (played by German actress Mala Emde). Her enthusiasm set her to multitasking – from organizing the concert venue (the Cologne Opera House), promoting the event, and selling the tickets, to convincing Jarrett to perform when he almost dropped out when the Bösendorfer Imperial Grand piano he was promised was nowhere to be found. John Magaro plays Jarrett with his own intensity, a sublime counterpoint to Mala Emde’s joyful portrayal of the enthusiastic and unstoppable Vera. Köln 75 captures the compelling, entertaining and, until now, unknown back story about Jarrett’s one-hour, entirely improvised concert, which became the best-selling solo album in jazz history.

“You don’t need to be a Keith Jarrett fan to enjoy Köln 75, but for anyone who is the movie is a savory anecdote that colors in his fluky rapture.” – Owen Gleiberman, Variety

“It’s a very fun and clever film.” – Christy Lemire, FilmWeek

“Like jazz itself, Köln 75 thrives on improvisation, bold choices, and fearless energy, reminding us that sometimes the most memorable performances happen offstage.” – Rachel West, That Shelf

not rated. contains strong language and drug use.

Urchin

Mike (Frank Dillane), a homeless person in London, struggles to break free from a cycle of self-destruction and turn his life around.

“While you ponder the tragedy of what you just witnessed, you are left stunned by how talented Dickinson and Dillane are. It’s the kind of work that makes you excited to see what they do next.” – Esther Zuckerman, The Daily Beast

“Dickinson, who became a heartthrob in movies like Beach Rats, Triangle of Sadness and Babygirl, announces that he’s much more than a pretty face, he’s got something to say, and the message of humanist compassion he delivers in Urchin is incredibly powerful.” – Katie Walsh, Chicago Tribune

“Urchin would be nothing without a gifted, vanity-free actor (the lead is the son of Stephen Dillane) who has clearly dug deep into the milieu of addiction and homelessness and is willing to go anywhere the script takes his character — from rapturous highs to desperate lows and all their consequent indignities.” – David Rooney, The Hollywood Reporter

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

Are We Good?

Comic and podcast pioneer Marc Maron reflects on loss and growth after the death of his partner, Lynn Shelton. As he processes grief and crafts comedy, he revisits his career, family struggles, and the evolving comedy world at 60.

“It’s an introspective portrait of how grief forces Maron, who spent a career metabolizing his feelings into cantankerous jokes, to finally confront his emotions.” – Lovia Gyarkye, The Hollywood Reporter

“Are We Good? isn’t just an enthralling look at pain, loss, and how we handle unexpected grief; it’s also a reminder that life is always full of surprises — both good and bad — and that unexpected journey will certainly have you asking ‘WTF?’ throughout.” – Ross Bonaime, Collider

“By the end, Are We Good? transcends its conventional biographical trappings to land somewhere soulful. Dragging us through the wreckage of grief and out the other side, it suggests that Maron’s legacy isn’t merely acerbic stand-up or podcast milestones, but the more complex work of becoming human in public.” – Rodrigo Perez, The Playlist

The Things You Kill

Haunted by the suspicious death of his ailing mother, a university professor coerces his enigmatic gardener to execute a cold-blooded act of vengeance.

“This film is about the contagious power of storytelling — which includes lying and self-deception — and what a potentially lethal device it can be in the wrong or even right hands.” – Ryan Lattanzio, IndieWire

“It’s absorbing, suspenseful, and deeply moving — a case study in how to make an effective psychological thriller.” – Bilge Ebiri, Vulture

“Debts to Luis Buñuel and David Lynch are obvious, but The Things You Kill has its own way of getting inside its protagonist’s head space — and yours.” – Ben Kenigsberg, New York Times

not rated. contains mild violence, sexual content, language, and thematic material.

Dracula

A Dracula film made in Transylvania. What does it contain? A vampire hunt. Zombies and Dracula crashing a strike. A science-fiction story about Vlad the Impaler coming back. An adaptation of the first Romanian vampire novella. A love story. A montage film reusing a classic vampire film. A vulgar folktale. AI-generated kitsch stories. And many delights in a film dealing with this cinema myth.

“A raucous mélange of the demented and the degrading, indulging in the very garish, grotesque, X-rated madness it condemns.” – Nick Schager, The Daily Beast

“Radu Jude’s gleefully stupid Dracula proves much too expansive — and much too invested in the centuries of barbarism that paved the way toward Silicon Valley — to be misunderstood as a simple rebuke against the grotesqueries of algorithmic image-making. ” – David Ehrlich, IndieWire

“Radu Jude’s Dracula is a ferocious, grotesque essay on myth, power, and cultural appropriation, turning the vampire into a symbol of capitalism, nationalism, and digital excess with fearless, exhausting energy.” – Dionar Hidalgo, Algo Más Que Cine

not rated. contains graphic violence, strong sexual content, graphic nudity, pervasive language, terror, drug use, and smoking.

AUM: The Cult at the End of the World

On the morning of March 20, 1995, a deadly nerve gas attack in the Tokyo subway sent the nation and its people into chaos. This exploration of Aum Shinrikyo, the cult responsible for the attack, involves the participation of those who lived through the horror as it unfolded.

“This is a polished, straightforward account of harrowing events, told with empathy and relative objectivity. If you’re looking for an entrée into one of the most bizarre, complex chapters of human history, look no further.” – Lena Wilson, The Wrap

“An astute and fright-filled story, AUM is limited by the unknowability of its subjects, registering as a spooky echo from a distant era.” – Chris Barsanti, The Playlist

“If anything, this documentary stands as a warning to us all. The warning tells us to pay attention to these groups, no matter how small or innocent they seem, for it is all merely window-dressing, from something that only takes and never gives—the winning of hearts, minds, and money at the expense of people’s lives.” – Kent Hill, Film Threat

not rated. contains disturbing content.

Sauna

Johan thrives as a gay man in Copenhagen, enjoying endless bars, parties, and casual flings. Everything changes when he meets William, a transgender man, and falls into a deep love that defies societal norms around gender, identity, and relationships.

“Broe is able to go beyond a clichéd queer cityscape to capture something that feels achingly real, all the more so in the evolution of Johan and William’s relationship. There’s a sadness here, but it’s blunted by the fact that it plays out in a way that feels very true to life.” – Graeme Guttmann, Screen Rant

“Sauna provides a rare insight into a relationship that is both beautifully complicated and profoundly significant.” – Sara Clements, Next Best Picture

“Broe explores both men’s realities, one buoyed by desire and the other stymied by political and social limitations. The filmmaker cleverly examines sexual identity and orientation and where they converge and diverge.” – Frank J. Avella, Edge Media Network

not rated. contains sexual content, brief nudity, mild violence, language, and thematic material.

Hunting Daze

Nina, a tempestuous young woman, joins a group of hunters in a remote cabin. A mysterious stranger’s arrival disrupts her newfound place in their male micro-society.

“Polished off by a vibrant cast, Annick Blanc’s feature debut is an impressive feat and a refreshing and minimal twist on the ‘eat the rich’ trend in Hollywood.” – Emma Kiely, Collider

“Condensed and symbolic in its approach, sometimes to the point where it becomes surreal, Hunting Daze uses a small story to address big subjects.” – Jennie Kermode, Eye for Film

“Blanc builds an unsettling atmosphere like nobody’s business, and the film is exceptionally refined in all its aesthetic elements, with an almost hallucinatory intensity to both optical and sonic contributions.” – Dennis Harvey, 48 Hills