Serena, a mysterious woman with a dark secret, arrives in a coastal town where men mysteriously disappear. Local journalist Dylan falls for her, unaware of her ties to deadly sirens who lure and kill. As Dylan and his brother Connor investigate the disappearances for a story, Connor's jealousy and obsession with Serena lead him to a deadly encounter. The brothers’ quest to uncover the truth places them in a perilous clash between love, betrayal, and ancient horrors lurking beneath the sea.
Documented human suffering is never easy to view or read about and is understandably triggering for many people, but it can be educational, and education is a key to change. An overwhelming amount queer people worldwide (and in my own country) have it far worse than I could imagine, and documentaries such as Welcome to Chechnya bring issues to light that certain groups of people would never see.
2025 has just about wrapped, so we’re taking this time to celebrate the most inclusive films that came out this year. Graded on Gender, Race, LGBTQ, Disability, and more
A film for the post-MeToo era that inverts the narrative with an ironic coda, Tár depicts the duality of a sensitive artist capable of great evil and vile manipulation.
Naked Gun: The New Police Squad Team delivers exactly what fans want: relentless, expertly crafted chaos that honors the original while cranking everything up to eleven. The gags fire at machine-gun pace—sight jokes layered with wordplay and physical comedy so outrageous it borders on art. It's gleefully self-aware without being cynical, silly without being stupid, and maintains that perfect ZAZ-style balance of treating absolute absurdity with complete seriousness. The film knows exactly what it is: a comedy missile designed for maximum laughs, and it hits its target with surgical precision. Pure, unhinged entertainment that proves spoof comedy still has plenty of life left in it.
A boy named Max experiences adventure within his own house while staying home alone.
Mai yells what every parent dreads hearing from their child: “tao ghét mày” (“I hate you”) and runs from the scene, where Hai discovers that Mai was telling the truth about the wallet.
