Here’s a first look at the upcoming action thriller SHELTER, starring Jason Statham (The Beekeeper, A Working Man), Bodhi Rae Breathnach (Hamnet), Naomi Ackie (Whitney Houston: I Wanna Dance with Somebody), and Academy Award nominee Bill Nighy (Living).
On a remote coastal island, a reclusive man (Statham) rescues a young girl (Breathnach) 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.
Directed by Ric Roman Waugh (Greenland, Angel Has Fallen), SHELTER opens in theaters on January 30.
Enormously entertaining, WAKE UP DEAD MAN offers more than a good murder mystery, delving into the soulful with an ex-boxer priest, playing excellently by Josh O’Connor, seeking his own forgiveness and an unforgiving monsignor, played menacingly by Josh Brolin, with his own little kingdom in a Gothic church isolated in a rural upstate New York that feels straight out of “The Headless Horseman.” Rian Johnson’s third installment in his Knives Out mystery series may be his best yet, featuring his droll Southern detective Beniot Blanc, the two Joshes and a star-studded cast of supporting players including Glen Close, Andrew Scott, and more.
A murder in a church sounds wrong but in Rian Johnson’s capable hands it turns into the perfect place in a story that pits faith and love against power and evil. The Gothic setting lends itself well to the tale of long-buried secrets and hidden motives in this isolated, claustrophobic small community. But director/writer Johnson makes you wait a bit for the crime and the detective, focusing first on Josh O’Connor’s priest as he grapples with his spiritual journey, trying to put love at the forefront, and overcoming the rage that led to him killing a man in the boxing ring.
To help him in wrestling those inner spiritual demons, and to help the church to unravel the curious goings-on at a remote little parish, his bishop (an unexpectedly darkly funny Jeffrey Wright) gives the young priest his first assignment. Not to replace the mysterious long-time priest, a monsignor, at that ancient church but as to be the assistant priest, and perhaps figure out what is happening there.
Josh O’Connor’s priest starts out with a firm belief in the power of love but a more knowing eye for human failings, his own and others. He arrives at the ancient church, which looks more like it was transported whole, complete with churchyard graves, from old England than something in New England. Josh Brolin’s parish priest gives the newcomer a chilly greeting, insisting on being called monsignor, and immediately asking him to hear his confession, a scalding one that leaves the young priest staggering. The battle of the Joshes is on.
Rian Johnson spins out this tale brilliantly, crafting the characters and the mystery to draw you in, and adding plenty of humor and twists along the way. Daniel Craig’s detective arrives a bit late but from that point on, the film takes the brakes off for a wild, massively entertaining ride, while still keeping it’s good versus evil. Figuring out who is good and who is evil is part of the fun.
Reportedly, this is the last of Rian Johnson’s Knives Out mysteries, which is disappointing news if true. This mystery is the best of the series, demonstrating the elastic nature of the genre and showcasing Johnson’s considerable talent.
Of course, that is aided mightily by the wonderful cast, especially first-rate performances from Josh O’Connor, who is really having a year, and Daniel Craig, as the clever, quipping detective. Some of best moments are between these two, as the believer debates the non-believer, in dialog that is both though-provoking and entertaining. Who wants to see that kind of film-making come to an end?
WAKE UP DEAD MAN opens Wednesday, Nov. 26, in theaters.
THIS HOLIDAY SEASON, UNIVERSAL PICTURES AND BLUMHOUSE PRESENT FIVE NIGHTS AT FREDDY’S 2. NEW RULES, NEW NIGHTMARE, NEW LEVEL OF FEAR. ONLY IN THEATERS DECEMBER 5TH.
In 2023, Blumhouse’s box-office horror phenomenon Five Nights at Freddy’s, based on the blockbuster game series by Scott Cawthon, became the highest-grossing horror film of the year. Now, a shocking new chapter of animatronic terror begins.
One year has passed since the supernatural nightmare at Freddy Fazbear’s Pizza. The stories about what transpired there have been twisted into a campy local legend, inspiring the town’s first ever Fazfest.
Former security guard Mike (Josh Hutcherson) and police officer Vanessa (Elizabeth Lail) have kept the truth from Mike’s 11-year-old sister, Abby (Piper Rubio), concerning the fate of her animatronic friends.
But when Abby sneaks out to reconnect with Freddy, Bonnie, Chica, and Foxy, it will set into motion a terrifying series of events, revealing dark secrets about the true origin of Freddy’s, and unleashing a long-forgotten horror hidden away for decades.
The cast of Five Nights at Freddy’s 2 includes returning co-stars Theodus Crane as Jeremiah and the legendary Matthew Lillard as William Afton. The film features new characters played by Freddy Carter (Shadow and Bone, Pennyworth), Wayne Knight (Jurassic Park, Seinfeld), Mckenna Grace (Ghostbusters franchise, Annabelle Comes Home) and horror icon Skeet Ulrich (Scream, Riverdale).
Five Nights at Freddy’s 2 is directed by acclaimed returning filmmaker Emma Tammi and is written by game series creator Scott Cawthon.
The film is produced by Blumhouse founder and CEO Jason Blum and Scott Cawthon, who together produced the first film. The executive producers are director Emma Tammi, Beatriz Sequeira, Christopher Warner, Russell Binder and Marc Mostman.
The first Freddy’s film opened to a record-shattering $80 million in October 2023 and went on to earn almost $300 million worldwide.
So what new genre are the fine folks at A24 going to tackle now? This current “indie darling” studio has made its mark with searing dramas and harrowing horror (I can’t even think about BRING HER BACK). What’s next? How about the “rom com”? Sure, this year’s MATERIALISTS would qualify, though it’s a pretty sharp comedic commentary on the current dating scene. Maybe they’ll look into one of those “sub-genres” such as the “fantasy/rom com”. Yes, indeed, their foray drops in theaters this holiday weekend. The fantasy part is the setting for most of the story: the afterlife. But there are no halos, or wings, or harps (maybe on the soundtrack). The plot concerns souls that are in a kind of limbo as they ponder some big decisions. See, it’s not just a question of “where” you want to spend the afterlife (more about that in a bit), bur rather “who” you want to be by your side for all of ETERNITY.
The story really starts on good ole’ planet Earth, today. The long-time elderly married couple, the Cutlers, are on their way to a “gender reveal” party, spurring much debate about current quirky traditions. But the celebration takes a tragic turn and suddenly the hubby/grandpa’ is on a very bizarre train. And he’s not in his 80s, instead he looks to be a spry thirty-something. Larry (Miles Teller) arrives at an equally strange station and is met by Anna (Da’Vine Joy Randolph) who explains to him that he has passed away and is in a heavenly ‘holding zone”. She’s his personal “Afterlife Coordinator”, further explaining that he is at his “happiest age” and has a week to decide which “afterlife area” he will exist forever. Lots of reps for the many different “worlds” bombard him with sales pitches (maybe “Sports world” or “Business world”, among hundreds of choices). But hey, Larry wants to be with his wife, so he has the option of staying in this zone and taking a job (the place resembles a massive resort) until his love arrives (dies, really). It doesn’t seem like a bad choice after conversing with a friendly affable bartender named Luke (Callum Turner) who’s pouring drinks until his lady love shows up. It’s not too long until Larry’s beloved checks in at the train station. A disoriented Joan (Elizabeth Olsen) is greeted by her own “AC”, Ryan (John Early). Anna swoops in with Larry, but Ryan has another option. Seems he’s also the AC for Joan’s first husband, who had been killed in a war not long after they wed. And you can guess who that is. Now, Joan has to make the biggest decision of her life (actually afterlife). Should she join Luke in “Mountain world” or be with Larry in “Beach world”? Let the chaotic comedy contest begin…
Although this flick is marketed as an otherworldly love triangle, the “side” with the most screen time is probably Teller as the often befuddled and a bit coarse Larry. Though, he made his mark in action flicks like the TOP GUN sequel and the “under-the-radar” sci-fi/romance THE GORGE. Teller displays a deft comedic touch here as Larry schemes to “wreck the system” in order to win his lady’s heart. Plus, he scores some big laughs as he still thinks like an 80-year-old despite his youthful vigor. With the right script, Teller could carry an all-out farce. At the center of this “tug-of-war” is Olsen as the ever-flustered Joan. She’s more known for her dramatic fare, along with being part of the MCU, so it’s great to see Olsen taking a chance in this genre. Like Larry, she’s in the “old soul/young body” dilemma, though she’s not given enough “shtick” before Joan is being torn by the big choice. The other fella’ turning up the heat is the more stoic Luke, played by Turner as more of a “fish out of water”, being a man from the 1950s dealing with a duo from the next century. Plus, he’s more grounded since he’s been in this “zone” a very long time. Rather than joining in the gags, Turner conveys a smouldering intensity in order to make Larry “step up his game”. Oscar-winner Randolph as Anna has a nice snarky delivery while doing a great slow burn as Larry really gets on her “last nerve” despite her eternal tenure. She’s a nice contrast to Early as the rival AC, who displays a prim but perky aggressiveness which irritates Anna. Also of note is the funny deadpan performance by Ryan Beil as Fenwick, the bored ticket taker at the “museum of memories”.
The assured, steady direction is by David Freyne, who also worked on the script with Patrick Cunnane. He keeps the pace flowing for most of the first half, and giving this fantasy backdrop a grounded look, combining elements of a sales convention (lots of reps recruiting) and a massive vacation hotel (I was reminded of the interior wall of room inside the Luxor in Vegas). Somehow he keeps us focused on the trio, forgoing any flashy effects and camera techniques. And then the big “lull’ occurs at the midway point, just as we should be more invested in the big conflict. It just seems to run out of “juice”. Maybe more bits of satire were needed in the script since most of the “other worlds” are mentioned and tossed aside (I will say that the best joke concerns a world that’s unavailable due to its appeal to women, and I’m not talking about a “Chippendale’s World”). By the final act, we’re just reminded of the much better realized afterlife rom/coms like the 70s HEAVEN CAN WAIT and especially Albert Brooks’ DEFENDING YOUR LIFE. It’s a shame because the three lead actors are really trying to make the premise work, but when the jokes wear thin and the producers try to pluck at our heartstrings, this time spent at the multiplex really does feel like an ETERNITY.
2 Out of 4
ETERNITY opens in theatres on Wednesday, November 26, 2025
What’s this? Or maybe I should say, “What’s gnu?”. We’re almost at the end of the year, and we’ve got a flick that hits the usual Summer “sweet spot” twice. Yes, this is an animated feature, and it’s a sequel, though it’s been nine (!) years since the original opened, time enough for a whole new “moviegoer generation” (back before home video, Disney would re-release their classics every seven years, as a kind of “turn-over”). And much like the return of THE BAD GUYS, we’re back in a world without humans, just cute (mostly) adorable animals. And at the heart of the story is a most unlikely, very odd couple. Oh, and now they’re both “on the force”, so it’s “buddy cop” movie, too. The “Mouse House” hopes that everyone will want to join them on their new “case” in ZOOTOPIA 2.
After a brief flashback back to the finale of the original, we’re soon return to the wild streets of “Tundra Town” in Zootopia with Det. Judy Hopps (voice of Ginnifer Goodwin) and her partner Det. Nick Wilde (Jason Bateman). Somehow the bust of a smuggling ring goes, well,”bust” as the bunny and fox end up destroying the statue of the beloved creator of the “Weather Wall” (which generates vastly different climates with the city, that allows the various mammals to co-exist). Of course, they’re reprimanded by their boss, Chief Bogo (Idris Elba) and taken off patrol duty (riding a desk). But does this stop the ever-upbeat and curious Hopps? No, she spots a logo on footage of the smuggler’s van that connects it to a big fancy museum gala that will showcase the original design book of that Weather Wall with the offspring of the inventor, the wealthy and powerful Lynxley family in attendance. Hopps and Wilde don disguises and sneak in. But just as Hopps has a friendly meet up with the less-celebrated of those heirs, the bumbling shy Pawbert (Andy Samberg), someone cuts the lights and the treasured book is snatched. The police duo corner the thief, who is revealed to be a pit viper named Gary De’Snake (Ke Huy Quan). How can this be? Reptiles were banished from Zootopia years ago. When Gary escapes, Hopps and Wilde must use all their sleuthing skills to learn the true origins of their home, before sinister forces destroy it.
Wisely the producers have assembled a stellar vocal cast mixing the usual celebrity “star” roster with a few cartoon voice vets like Maurice LaMarche (forever “The Brain”), Bob Bergen, and Debra Monk. Since he’s been so prolific “behind the mike” we could add Patrick Warburton, who is quite funny as actor turned politico Mayor Windancer ( love how he constantly whips his mane), along with Alan Tudyk (the studio’s “good luck charm”) as several supporting characters. As for the “big names”, Goodwin and Bateman are still are a terrific pairing as Hopps and Wilde with her sprite-like sunny energy and his laid-back cool. Ditto for Elba’s intimidating, “bass-heavy” Bogo. A few of the “newbies” really shine. Quan gives the slithery Gary a real sweetness as he tries to toss away his species’ “bad rep”. Samberg conveys a needy, goofy quality as Pawbert. As his father Milton Linxley, David Strathairn, is quite effective as the impossible to please tyrant of a papa. Another big addition comes from the world of stand-up as comic Fortune Feimster puts an energetic, frantic spin on the conspiracy-lovin’ podcast-hostin’ beaver, Nibbles Maplestick.
The directing team of Jared Bush (who doubles as screenwriter) and Byron Howard return to ensure the same excellent artistry of the original. This film will benefit from multiple viewings, since it’s almost impossible to consume all of the “eye candy” that fills nearly every frame with witty visual puns and bombastic sight gags. Everywhere, there’s a pun-filled sign or an interestingly garbed animal engaging in a wacky bit of business. Of course, the latter begins with the superb character design, ranging from towering elephants and rhinos to the diminutive mice and moles. The artisans really had a “field day” with Gary whose elastic coiling torso balances an almost angelic face (even with the fangs). But then all of the physical acting (such emotive gestures) are top-notch. Michael Giacchino contributes a score nearly as light and bouncy as his work on the Fantastic Four flick. Critter-loving kiddies should be in “hog heaven” as they ID the astounding variety on screen, though the too-convoluted conspiracy plot line (almost a stumper for Benoit Blanc) may leave them lost in the various twists and turns (simple’s always better, along with a slightly-shorter runtime). Otherwise, this is a superior bit of family entertainment, ZOOTOPIA 2 is a nice extra dessert (along with that pumpkin pie) for this Thanksgiving.
3 Out of 4
ZOOTOPIA 2 arrives in theatres everywhere on Wednesday, November 26, 2025
From Academy Award® winning writer/director Chloé Zhao, HAMNET tells the powerful story of love and loss that inspired the creation of Shakespeare’s timeless masterpiece, Hamlet.
The film stars Jessie Buckley, Paul Mescal, Joe Alwyn and Emily Watson and opens in St. Louis on December 5th.
Based on the novel by MAGGIE O’FARRELL, and produced by Liza Marshall, p.g.a., Pippa Harris, p.g.a., Nicolas Gonda, p.g.a., Sam Mendes, p.g.a., and Steven Spielberg, p.g.a., HAMNET won the Audience Choice Award for Best Film at the St. Louis International Film Festival.
Academy Award®-nominated actress Scarlett Johansson will play the lead role in director Mike Flanagan’s radical new take on The Exorcist for Blumhouse-Atomic Monster and Morgan Creek Entertainment for Universal Pictures. The film is set to shoot in New York City.
Johansson is a Tony and BAFTA-winning actress, producer, and director. Johansson’s directorial debut, Eleanor the Great, which she produced with her partners at These Pictures, had its world premiere at the 78th Cannes Film Festival and North American premiere at the 2025 Toronto International Film Festival. Johansson received her first two Academy Award nominations, for Best Actress and Best Supporting Actress for her performances in Noah Baumbach’s Marriage Story and Taika Waititi’s Jojo Rabbit, respectively, becoming the twelfth performer to be nominated for two Oscars in the same year. Her other notable acting credits include Jurassic World Rebirth, Asteroid City, Fly Me to the Moon, Black Widow, Lost in Translation, Avengers: Endgame,Avengers: Infinity War, Lucy, Underthe Skin, Ghost in the Shell, Isle of Dogs, Sing, Sing 2, and Her.
“Scarlett is a brilliant actress whose captivating performances always feel grounded and real, from genre films to summer blockbusters, and I couldn’t be happier to have her join this Exorcist film,” said Flanagan.
Johansson is represented by CAA, Yorn Levine LLC, and True Public Relations.
The film will tell an all-new story set in The Exorcist universe and is not a sequel to 2023’s The Exorcist: Believer. It is produced by Blumhouse-Atomic Monster, Morgan Creek Entertainment and Flanagan, who will also write and direct via his Red Room Pictures banner. Alexandra Magistro will also executive produce for Red Room Pictures. David Robinson produces for Morgan Creek Entertainment. Jason Blum and Ryan Turek serve as producer and executive producer for Blumhouse-Atomic Monster.
Flanagan is the visionary writer and director whose latest film, The Life of Chuck, recently won the coveted People’s Choice Award at the Toronto International Film Festival and continues to generate significant awards buzz. He most recently wrapped production on the Amazon MGM Studios TV adaptation of Stephen King’s debut novel, Carrie.
He is also the filmmaker behind the acclaimed features Doctor Sleep and Gerald’s Game, as well as the creator of the hit series Midnight Mass, The Haunting of Hill House and The Fall of the House of Usher. Flanagan is represented by WME, VanderKloot Law and Bespoke Publicity.
A scene from British sci-fi comedy TIME TRAVEL IS DANGEROUS. Courtesy of Level 33 Entertainment
TIME TRAVEL IS DANGEROUS is a droll British sci-fi comedy is low budget, low key and low delivery, under-serving a high concept. Writer/director Chris Reading started with an amusing twist on the time-travel milieu. Two rather dim-witted women (Ruth Syratt and Megan Stevenson) who own a dowdy resale shop stumble across a small vehicle that was dumped in an alley by its disenchanted inventors, who never quite mastered its time-hopping capabilities. The ladies use it to snatch clothes and minor objects from earlier eras to upgrade the inventory of their failing business, filling the humble rented space to the rafters with relics of affordable consumer value. No heists. No cash grabs. Just stuff that wouldn’t be missed much by its owners.
The haul includes videotapes of a public-access version of Mr. Wizard starring two guys (Johnny Vegas and Kiell Smith-Bynoe) who happen to have been the machine’s inventors. They are now part of a club of eccentric wannabe inventors with what could have been a charming cast of oddballs. The right cast was in place, but without the right writing to let them shine.
Although the bones were there for a delightful romp, the script failed to deliver the goods. Some of the best-known actors – Stephen Fry, Brian Blessed, Jane Horrocks – were underutilized. What we end up with could have been called BILLIE AND TEDDIE’S EXCELLENT ADVENTURE, if the temporal sojourners weren’t named Ruth and Megan. Their visits to earlier times, ranging from the age of dinosaurs to recent decades, are among the film’s best moments. But they were too small a percentage of the running time. One long sequence in a sort of time-warp limbo was intriguing – as if an ALICE IN WONDERLAND style of encounter had been written and directed by Terry Gilliam.
Budget limitations are obvious, and perhaps should be used to cut this production more slack. Time-travel shows are inherently fraught with logical issues, even when played for laughs. This one avoided some of the usual traps, but became more annoying than engaging as events unfolded. Too much petty quibbling among, and bad decisions by, the principals for entertainment value.
TIME TRAVEL IS DANGEROUS opens in select theaters and on-demand on Friday, Nov. 21, 2025.
There is unexpected depth in RENTAL FAMILY, a comedy/drama starring Brendan Fraser as an American actor living in Tokyo who takes a job with an agency that supplies actors to play a part in people’s lives. There are sweet moments but nothing saccharine in this a film that thoughtfully explores issues about identity, role-playing and self-deceit as well as human connections.
Odd as it seems, such rental agencies really do exist in Japan. Brendan Fraser gives a touching performance in RENTAL FAMILY, which is partly in English and partly Japanese with subtitles, as an American actor who has been living in Tokyo for seven years but still feels like an outsider. With work becoming sparse, the out-of-work American actor takes a one-time job with a company that provides its customers with people to play roles in their lives, such as a mourner at a funeral, or even impersonate someone in their lives. The company asks him to stay one but the actor is hesitant at first. He is persuaded to take the job when the business owner points out it is still acting, like improv, and that the service is helping people.
That is not always true, as the American finds out. Some of the assignments are short-term, but others are longer. In one such case, a single mother hires the actor to impersonate the American father her young daughter never met, in order to help her gifted daughter get into an exclusive school. In another, the daughter of an older Japanese movie star, who hires the American to play a journalist who has come to interview the once-famous, aged actor, who fears he has been forgotten. The one rule in the work is not to get too involved, which Fraser’s big-hearted character struggles with that at times. This charming, beautifully-shot drama, partly in English and partly in Japanese with subtitles, is mostly sweet, warm and sometimes even comic, but it also has some surprising, and even unsettling, food-for-thought moments, as well as offering reflections on identity, human connections and role-playing in our own lives.
While there is plenty of humor, there is also a poignancy to RENTAL FAMILY, as it explores issues around role-playing in our lives and human connections, There is a sweetness to but it is naver cloying or false in tone, and always grounded in real human connections.
RENTAL FAMILY, partly in English and partly Japanese with English subtitles, opens in theaters on Friday, Nov. 21, 2025.
In this high-speed modern age, it’s hard to recall a time when much of the country was nearly inaccessible. No airports or interstate “super-highway” systems existed, just a little over a hundred years ago. Well, somebody had to “clear the way” for the ever-expanding US population as it headed west. So, what were these hard-toiling workers like, emotionally. What were their desires, and how did they carve out a life for themselves, and, eventually, their families? This new film, based on a recent celebrated literary work, tries to answer those questions as it focuses on one such man in the early part of the previous century. After several grueling hours of laying track, did he close his eyes, and drift away into a slumber filled with TRAIN DREAMS?
That laborer at the heart of this story is Robert Grainier (Joel Edgerton), who relates his humble beginnings as a young orphan arriving via train to Idaho in the late 19th century. Most of his early memories revolve around the railroad and the surrounding forests. He sees Chinese immigrant rail workers being driven out of town, and even gives a water-filled boot to a dying man near the bottom of a ravine. In his teenage years, he hops on to a locomotive that takes him far away from his adopted family, to Washington state. After a long stint as a logger, he settles in a small town and meets a lovely young woman at a church function. Robert and Gladys (Felicity Jones) begin a romance that culminates in marriage. They build a home near a stream on the edge of the woods far from their village. Robert is happy, but he’s haunted by dreams of an incident in which he failed to intervene in an attack on a Chinese co-worker. Soon the couple welcome a daughter, Kate. But Robert soon leaves once more, to work on the railway expansion hundreds of miles away. He keeps to himself, but befriends a colorful old explosives excavator named Arn (William H. Macy). When that job is completed, Robert rushes back to his cabin for a happy reunion. Sadly, fate has other plans. He must decide whether to drift from job to job or try to put down roots near the site of his great, heartbreaking loss.
In the lead role, Edgerton must make Robert compelling without reciting much dialogue. And he certainly succeeds, making his tired eyes a window into the stoic man’s soul. We can almost share his aches and pains as Robert toils to make a better life for his family. This gives an extra emotional wallop as Edgerton conveys his joy (falling in love, playing with Kate) to his sorrow (that tragedy and the horror of the work camps). Many of the most powerful moments are the scenes shared with Jones, whose Gladys is the bright, shining light in Robert’s dreary drudgery. It’s surprising to see her as the main catalyst to the relationship, catching him “off guard”. Jones’ beaming gaze at him informs us of her passion for the new life she has begun as wife and mother. Another terrific actress, Kerry Condon, also brightens Robert’s life as a new-found friend who begins a job at a nearby forest preserve. Their interplay is quite engaging, as she describes her own love of the solitude of nature. As is the case in his superb supporting work, Macy makes the most of his scant screen time as the lazy bur lovable “blaster” who makes Robert the “sounding board” for his philosophy, while generating laughs as he tinkers with faulty equipment (“Stand back, boy…aw, c’mon now!”).
With his sophomore feature, director Clint Bentley carefully crafts a somber saga of early American life in the West. He also co-wrote the screenplay adaptation of the Denis Johnson novella with Greg Kwedar, which eschews showy histrionics in order for Robert to tell his own story of love, loss, and regret. There’s a dream-like quality to the early scenes of young Robert collecting lifelong memories that will shape his later years. Adding to the dreamscape of the title, Bentley presents images and sequences that could be fantasy or fact, as Robert deals with his own fractured history. All this is enhanced by the rich, luminous cinematography of Adolpho Veloso (tough to go wrong with that lush scenery). For those film fans in need of a quiet, contemplative respite from the usual “rapid_fire”, bombastic movie fare, TRAIN DREAMS is cinema serenity.
3 Out of 4
TRAIN DREAMS streams exclusively on Netflix beginning on November 21, 2025
