(RED BANK, NJ) -- Legendary director, Francis Ford Coppola (The Godfather, Apocalypse Now, The Outsiders) is bringing his monumental 2024 film, Megalopolis, to select cities across the country. The tour kicks off at the Count Basie Center for the Arts on Sunday, July 20, 2025 at 7:00pm.
(LITTLE FALLS, NJ) -- /PRNewswire/ -- The Yogi Berra Museum & Learning Center in Little Falls will host a special tribute event, Legends Remembered Live: A Tribute to Yogi Berra, on Sunday, June 29, 2025 at 2:00pm, honoring the life, legacy, and faith of one of baseball's most beloved figures.
(RUTHERFORD, NJ) -- After a four-year-long production process, filmmaker and New Jersey native, David Joseph Volino, is sharing the full-length feature, Wayward Kin, with local audiences. See the film for one night only at The Williams Center in Rutherford on Wednesday, July 23, 2025. The screening begins at 7:00pm with the cast and crew in attendance.
British director Michael Pearce made an impressive debut with this 2017 Channel Islands-set thriller Beast, helping to make a star of Jesse Buckley in the process. After an underwhelming sci-fi sojourn with 2021's Encounter, Pearce now returns to thriller territory with Echo Valley. If you've seen Max Ophuls' 1949 thriller The Reckless Moment or its 2001 Tilda Swinton-starring remake The Deep End, the premise of Echo Valley will prove familiar. Well, the first half at least. In its second half Echo Valley deviates off course, and it's at that point that it runs into trouble.
Many short films are made as pitches for a potential feature film, and as such they tease an interesting concept while lacking the time to actually explore it in any detail. Working with co-writer Rumi Kakuta, director Yûta Shimotsu makes his feature debut, Best Wishes to All, by expanding his earlier short of the same name. While the feature length version develops the theme of the short, it never fully digs into what exactly it is it's trying to address. Viewers may be left frustrated by a rushed final act, but for fans of extreme Japanese horror, Shimotsu's debut is a must-see.
Like the boxing movie, you might think the prison drama should have grown stale by now, and yet it continues to surprise. Inside, the feature debut of Cannes-winning writer/director Charles Williams, might have the least original title for a prison movie imaginable, but it uses its familiar setting in distinctive ways that almost reinvent the sub-genre.
When it comes to coming-of-age comedies, the best ones of recent years have been centred on teenage girls (Lady Bird, The Edge of Seventeen, Eighth Grade et al) rather than their male counterparts. Comedies about teenage boys tend to portray them as one-dimensional horndogs whose only goal is to get laid before they graduate, whereas the female protagonists of such movies have far more complex concerns. It's a relief then to find that Lemonade Blessing is that rare teen comedy that offers us a well-rounded young male protagonist, one who isn't even all that bothered about losing his virginity.
RL Stine's series of 'Fear Street' young adult novels served as a gateway for a lot of young readers to discover the horror genre in the '90s. In 2021 Netflix released a trilogy of movies based on Stine's books, with instalments set in 1994, 1978 and 1666 that heavily drew on Scream, Friday the 13th and the folk-horror sub-genre respectively. Long envious of MCU fans who get to enjoy three or more interconnecting movies from their favourite cinematic universe every year, I was excited for a horror equivalent. Sadly the Fear Street trilogy was a mess that suffered heavily from getting itself bogged down in clunky universe building rather than telling three engaging horror stories. It may have taken the form of three movies but 2021's Fear Street was really just a TV show in disguise.
Wes Anderson's films are like intricately crafted dollhouses. The good ones feel human and alive, like a dollhouse a little girl has filled with her imagination. The bad ones are like a dollhouse on display in an upmarket shop window, existing to be admired rather than enjoyed. The Phoenician Scheme belongs to the latter category. It's not quite as visually meticulous as we've become accustomed to from Anderson, but it still looks better than 90% of the movies that will grace cinema screens this year. Yet while it's easy to admire the upholstery and carpentry of its sets, its story is almost impenetrably uninteresting, as are most of its characters.
So many horror movies have tackled grief that it's become something of a cliché in the genre. But unlike many horror movies, in which a death has occurred some time in the past and is still being processed by the protagonist at a later point, writer/director Julia Max's debut The Surrender is set in the immediate aftermath of the death of a loved one.
