NOTE: This film is not yet rated in Canada. Check back later for updated rating.

With “Avatar: Fire and Ash,” James Cameron takes audiences back to Pandora in an immersive new adventure with Marine turned Na’vi leader Jake Sully (Sam Worthington), Na’vi warrior Neytiri (Zoe Saldaña), and the Sully family.

From all of us at SALMAR Cinemas, we wish you and yours a happy holiday season!

Please note our holiday hours:
🎄 December 24: Matinées only
🎅 December 25: Closed
✨ December 26: We return to daily matinées and our regular evening shows

We look forward to celebrating the season with you at the movies! 🍿🎬

Matinee only – No Evening Shows for December 24.

NOTE: This film is not yet rated in Canada. Check back later for updated rating.

With “Avatar: Fire and Ash,” James Cameron takes audiences back to Pandora in an immersive new adventure with Marine turned Na’vi leader Jake Sully (Sam Worthington), Na’vi warrior Neytiri (Zoe Saldaña), and the Sully family.

Judy Hopps and Nick Wilde find themselves on the twisting trail of a mysterious reptile who arrives in Zootopia and turns the animal 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.

Anyone can survive five nights. This time, there will be no second chances.

The Allies, led by the unyielding chief prosecutor, Robert H. Jackson (Michael Shannon), have the task of ensuring the Nazi regime answers for the unveiled horrors of the Holocaust while a US Army psychiatrist (Rami Malek) is locked in a dramatic psychological duel with former Reichsmarschall Herman Göring (Russell Crowe).

NOTE: This film is not yet rated in Canada. Check back later for updated rating.

With “Avatar: Fire and Ash,” James Cameron takes audiences back to Pandora in an immersive new adventure with Marine turned Na’vi leader Jake Sully (Sam Worthington), Na’vi warrior Neytiri (Zoe Saldaña), and the Sully family.

The Metropolitan Opera’s 2025–26 Live in HD season comes to a close with a live transmission of American composer Gabriela Lena Frank’s first opera, a magical-realist portrait of Mexico’s painterly power couple Frida Kahlo and Diego Rivera, with libretto by Pulitzer Prize–winning playwright Nilo Cruz. Fashioned as a reversal of the Orpheus and Euridice myth, the story depicts Frida, sung by leading mezzo-soprano Isabel Leonard, leaving the underworld on the Day of the Dead and reuniting with Diego, portrayed by baritone Carlos Álvarez. The famously feuding pair briefly relive their tumultuous love, embracing both the passion and the pain before bidding the land of the living a final farewell. Music Director Yannick Nézet-Séguin conducts the Met-premiere staging of Frank’s opera, a “confident, richly imagined score” (The New Yorker) that “bursts with color and fresh individuality” (Los Angeles Times). The vibrant new production, taking enthusiastic inspiration from Frida and Diego’s paintings, is directed and choreographed by Deborah Colker.

Tchaikovsky’s many moods—tender, grand, melancholy—are all given free rein in Eugene Onegin. The opera is based on Pushkin’s iconic verse novel, which reimagines the Byronic romantic anti-hero as the definitive bored Russian aristocrat caught between convention and ennui; Tchaikovsky, similarly, took Western European operatic forms and transformed them into an authentic and undeniably Russian work. At the core of the opera is the young girl Tatiana, who grows from a sentimental adolescent into a complete woman in one of the operatic stage’s most convincing character developments.

The electrifying Lise Davidsen tackles one of the ultimate roles for dramatic soprano: the Irish princess Isolde in Wagner’s transcendent meditation on love and death. Heroic tenor Michael Spyres stars opposite Davidsen as the love-drunk Tristan. Mezzo-soprano Ekaterina Gubanova reprises her signature portrayal of Brangäne, alongside bass-baritone Tomasz Konieczny, who sings Kurwenal after celebrated Met appearances in Wagner’s Der Fliegende Holländer and Ring cycle. Bass-baritone Ryan Speedo Green makes an important role debut as King Marke.

I Puritani was the final work from Vincenzo Bellini, the great Sicilian exponent of the bel canto style of opera. It was written specifically for the talents of four of the best singers of its day, and the opera’s success depends almost entirely on the vocal abilities (and artistic sensibilities) of the performers. Its depiction of madness—both in individuals and in communities—is extraordinary: The opera suggests that the veneer of sanity can slip away at any moment, that madness can plunge a person into a destructive abyss.