If you wanted to make one of the strangest movies of the 1970s, I suppose there's no better creative team to do it than director William Castle and star Marcel Marceau. One is a practiced salesman of genre entertainment, creating a long list of B-movies that occasionally employed gimmicks to help boost box office fortunes. The other is perhaps the most famous mime artist in history, charming audiences for decades with his extraordinary bodily command. 1974's "Shanks" is a collaboration between the men, who labor to find ways to bring Ranald Graham's screenplay, "a grim fairy tale," to life. In a way, Castle and Marceau are wildly successful, generating an unnerving feature that achieves some of the dark whimsy it's hoping to find. Dramatically, the material isn't quite as commanding, losing a sense of storytelling hustle as it goes. It's certainly a memorable viewing experience, hitting a few peaks of insanity while highlighting outstanding mime work from the cast, making for a supremely bizarre effort for more adventurous audiences. Read the rest at Blu-ray.com

Alexander Payne has an incredible track record as a director, overseeing a list of amazing pictures during his time, including 2011's "The Descendants" and 1999's "Election." His streak was broken with 2017's "Downsizing," unable to find a proper mood for the misguided comedy, though it was hardly a disaster. Payne is back on his feet in "The Holdovers," reuniting with his "Sideways" star, Paul Giamatti, and the pair once again examined the life of an arrogant man facing the cold reality of his personality, trading the sloshed battleground of wine fields for a private school for boys. Scripted by David Hemingson, "The Holdovers" is completely dedicated to the examination of its characters, putting these nuanced people in a variety of situations that test their resolve and break through their defenses. And it's a wonderful film, carried by pitch-perfect performances and gorgeous cinematography by Eigil Bryld, putting Payne back on track with another human tale of connection. Read the rest at Blu-ray.com

There have been several cinematic examinations of fraternity life over the last decade (including "Haze," "Goat," "Pledge" and "Burning Sands"), with most putting emphasis on the violence of hazing and how it connects to the college experience for some intimately involved in the process. "The Line" inspects such ugliness and physical harm, but there's more to the endeavor than a simple show of cruelty in the name of brotherhood. Co- writer/director Ethan Berger looks to delve a little deeper into frat house life, following one young man's experience with routine and isolation as he tries to achieve a brighter future through connections, not necessarily relationships. "The Line" doesn't go to expected places until the final act, leaving the rest of the feature an intense, interesting character study about denial, supported by a cast immersing themselves in complex parts. Read the rest at Blu-ray.com

Writer/director/actor Seth MacFarlane has built an empire with his hit cartoon "Family Guy," so one can hardly blame the creator when his debut feature as a filmmaker, "Ted," resembles an episode of the beloved series. Raunchy and ridiculous, "Ted" is an easy transition for MacFarlane, who brings to the screen a succession of gross-outs, non sequiturs, and pop culture references, used to buttress a simple story of a magical wish gone horribly wrong. It's a funny picture, never quite as sweet as MacFarlane imagines, but still generous with the silly stuff and captivatingly bizarre. Read the rest at Blu-ray.com

Abel “The Weeknd” Tesfaye really wants to be an actor. Being a successful singer isn’t enough, reaching chart-topping highs and attracting significant media attention. Becoming a thespian seems to be his new goal, though he’s probably not going to achieve it if he keeps picking projects like “Hurry Up Tomorrow.” While the film is being sold to the public as some type of psychological thriller, co-writer/director Trey Edward Shults (“Krisha,” “It Comes at Night,” and the little-seen “Waves”) isn’t making something like that. The endeavor is more surreal and meandering than a simple ride into a broken mind, and it’s incredibly determined to sell Tesfaye’s dramatic range, along with his music. The offering is a valentine to the greatness of The Weeknd “persona” and musical accomplishments, finding the script more of an afterthought as Shults is tasked with staying tight on the star as he hopes to deliver a powerhouse performance. “Hurry Up Tomorrow” accomplishes extraordinarily little dramatically, strictly made for those who share the same appreciation for The Weeknd as Tesfaye does. Read the rest at Blu-ray.com

In 2023, “Mission: Impossible – Dead Reckoning Part One” was released, facing stiff, ultimately overpowering competition from “Barbie” and “Oppenheimer.” The sequel’s box office potential wasn’t reached, but as an offering of blockbuster filmmaking, star Tom Cruise and director Christopher McQuarrie delivered a real epic supported by excellent technical credits and a ripping pace. However, production woes on “Part Two” failed to sustain the adrenaline rush, and there’s not even a “Part Two” anymore, as “Mission: Impossible – The Final Reckoning” finally arrives to provide a monster payoff in length (170 minutes) and big screen spectacle, once again finding Cruise and McQuarrie on a quest of their own to make sure viewers are left completely wowed by this endeavor, which is possibly the final “Mission” movie, at least for quite some time. “The Final Reckoning” isn’t nearly the fist-pumping viewing experience “Dead Reckoning” provided, but it does the trick, keeping the production devoted to huge thrills and character peril as Ethan Hunt accepts one last mission to save the world. Read the rest at Blu-ray.com

It comes as some shock to realize that the original “Final Destination” was released 25 years ago, emerging as a potent box office player during the horror cycle of the era. It comes as a surprise to understand the last chapter, “Final Destination 5,” came out 14 years ago, and while ticket sales were down, profitability didn’t seem to be threatened. However, New Line Cinema didn’t ask for more, letting the series conclude while genre fans moved on to new obsessions. With the successful revival of “Scream” currently grinding out sequels, it’s time for other older franchises to be revived, inspiring the creation of “Final Destination Bloodlines,” which returns the saga of Death and his sick games of torment to theaters, looking to unite old and new fans as a tightly choreographed massacre is rejuvenated, possibly for many more years to come. That’s not to suggest “Bloodlines” is a thrilling feature, but it’s definitely enthusiastic at times when it comes to orchestrating bodily harm to maintain brand name appeal. Read the rest at Blu-ray.com

From the directors of “Swamp Shark,” “Ghost Shark,” “Trailer Park Shark,” and “Nightmare Shark” comes “A Breed Apart,” which, weirdly, doesn’t feature any sharks. It remains an animal attack picture, this time using rabid dogs on a tropical island to fuel B-movie pleasures. The production is also something of a remake, building on the premise of 2006’s “The Breed” to inspire a new take on canine-based horror, updated for the social media generation. Helmers Griff and Nathan Furst (who also script) have a design for craziness, but they don’t have much money to pull off the visually ambitious endeavor, which aims to generate a dog-pocalypse situation of survival featuring a cast of humans running away from ferocious animals. Sadly, “A Breed Apart” looks painfully cheap, almost unfinished at times, and getting a sense that a fear factor isn’t going to happen in the offering, the Fursts turn to campiness, and that doesn’t work at all. Read the rest at Blu-ray.com

Directors Josh Gordon and Will Speck have been involved in comedies throughout their entire career. Responsible for the silliness of “Blades of Glory,” “Office Christmas Party,” and “Lyle, Lyle, Crocodile,” the helming team hasn’t really expanded their storytelling horizons, sticking with what works. For “Long Distance” (a.k.a. “Distant”), Speck and Gordon take on a sci-fi story from screenwriter Spenser Cohen, though they don’t completely lose their sense of lightness with the movie. “Long Distance” is a tale of survival, featuring a few heated acts of self-preservation, but it endeavors to remain upbeat with its two main characters, who develop an emotional bond as they physically get closer to each other while stranded on a hostile planet. There’s warmth to be found for those who crave it, but what Cohen really has in the material is a short story, and that’s not enough to truly command attention in this misfire. Read the rest at Blu-ray.com

Paul Rudd is certainly drawn to tales of male bonding. He scored a few hits in his career exploring relationships between friends learning to have fun and relate to each other. Silliness ensued in offerings such as “I Love You, Man” and “Role Models,” but “Friendship” is a much stranger, darker overview of camaraderie. Writer/director Andre DeYoung goes the anti-comedy route with the picture, detailing the mental health decline of a man who simply wants to be accepted by others, unable to control himself when his idyllic life is denied. “Friendship” pairs Rudd with Tim Robinson, a former “Saturday Night Live” player who’s built a small empire of strangeness on television. DeYoung is ready to utilize this bizarre intensity, setting Robinson loose in the feature, which has some laughs, plenty of awkwardness, and an uneven way of delivering a psychological study of human need. Read the rest at Blu-ray.com

With a title like "Dragon: The Bruce Lee Story," one expects to learn something about the subject. The 1993 endeavor isn't interested in providing a thorough investigation of the media star and martial artist, preferring to explore the cinematic ways of his life. Co-writer/director Rob Cohen creates a bit of a hagiography with the film, carefully sanding down Lee's rough edges, making his story palatable to a wide audience as the writing primarily focuses on bigotry and response to adversity. It's a commercial for Bruce Lee, which adapts his wife Linda Lee Cadwell's 1975 book, "Bruce Lee: The Man Only I Knew," and she's extremely protective of his reputation and legacy. "Dragon" is sanitized and filled with fantasy, but Cohen (in what's easily his finest movie) crafts an engaging picture, best digested as entertainment that features reminders of Lee's philosophy, passions, and physical abilities, sold through a sensational lead performance from Jason Scott Lee. Read the rest at Blu-ray.com

How desperate does a toy company have to be to reach out to Troma Entertainment for inspiration? 1984's "The Toxic Avenger" wasn't a movie for children, filled with all kinds of violence and crudeness that Troma loves to deliver. But, somehow, this feature and its many sequels found its way to the realm of kids T.V., transformed into 1991's "Toxic Crusaders," turning the "superhero from New Jersey" into an environmental warrior, joined by his "tromatons" evil sense, a sentient mop, and a gang of mutants looking to stop Dr. Killemoff and his Radiation Rangers from their repeated attempts to poison Tromaville. Created during the days of R-rated influences and pollution fears (emerging a year after "Captain Planet"), "Toxic Crusaders" is a big swing in terms of functionality, and the producers do what they can to retain Troma's strained silliness while still making something for the little ones and their merchandise-buying parents. Only 13 episodes were produced, with the show trying to become the next "Teenage Mutant Ninja Turtles," but, understandably, the program didn't last. It's not unappealing work, but it's not terribly exciting, and tired shtick (such as breaking the fourth wall) tends to smother the heroic elements that do manage to connect. Read the rest at Blu-ray.com

Yes, 1987's "Delirium" is a giallo. There's a mysterious killer on the loose. Victims die in increasingly elaborate ways. The filmmakers invest in color and style to bring the feature to life. That's all well and good, but the production doesn't seem thoroughly invested in the process of bringing suspense to life. What "Delirium" primarily becomes is a showcase for star Serena Grandi's physical appearance, as director Lamberto Bava is mostly focused on getting the actress out of her clothes as much as possible. Sure, danger is out there, and business affairs to tend to. But there's time for sheer outfits and nudity as well, and the supporting cast also contributes bareness to this sexploitation endeavor. The film isn't the greatest example of thriller moviemaking, but it has the one goal in mind, impressively making sure this display of flesh is handled with care. Read the rest at Blu-ray.com

One of the strangest things to ever happen to Robert Altman was box office success. It happened once, as 1970's "M*A*S*H" managed to break out and find an appreciative audience exposed to the director's impish, subversive ways and his specialized manner of making movies. The release was enormous, suddenly putting Altman in the spotlight, which didn't suit his artistic interests, spending the rest of the decade burning off such financial potential on a series of challenging endeavors that perfectly fit his cinematic worldview. 1974's "Thieves Like Us" was sold to audiences as something of a gangster picture, following the survival of three prison escapees using bank robberies to fund their lifestyles. But this is Altman, and the cheap thrills of criminal activity have no place in the effort, as it's more of a character study focusing on people stuck in neutral for various reasons. "Thieves Like Us" remains in line with other Altman offerings, but it's hard to grasp the purpose of its glacial pace, which strains dramatic engagement as cinematic indulgence tends to dominate the viewing experience. Read the rest at Blu-ray.com

If you’re a movie fan, you’ve probably experienced golden theatrical moments where a bond between entertainment and audience is born. For me, the release of 2014’s “John Wick” contributed a beautiful moment involving slightly disinterested viewers suddenly snapped to attention by the picture’s level of ferocity, while its eventual displays of violence extracted a jubilant group reaction that’s extremely rare to find. Ticket-buyers were changed when they left the theater, understanding they just watched a film made with care and commitment to shaking things up in the world of action cinema. “Wick Is Pain” is a documentary out to celebrate the entire “John Wick” franchise, as director Jeffrey Doe examines how the chapters came to life, often through blood, sweat, and a few tears. It’s a celebratory offering, but an earned one, as the series has become a mighty monetary force for distributor Lionsgate Films, who’ve turn all things “Wick” into an event, keeping director Chad Stahelski and actor Keanu Reeves busy over the last eleven years, generating towering valentines to big screen stunts and style. If you dig the brand, “Wick Is Pain” is an enormously engaging viewing experience. Read the rest at Blu-ray.com

Director Stephen Chbosky (who struggled to find an audience for his last release, “Dear Evan Hansen”) and screenwriter Liz Maccie take on the “based on a true story” ways of “Nonnas,” which is an Italian word for grandmother. It’s a tale of a middle-aged man taking a chance on a restaurant idea that’s meant to preserve the cooking traditions of his family, sharing the warmth of such gatherings and food with the public. It’s a reality for restaurateur Jody Scaravella, and Vince Vaughn receives a chance to restore some of his screen charms in the part, portraying a man taking on a tremendous financial and culinary challenge while trying to mend his broken heart. Chbosky and Maccie are in crowd-pleasing mode with “Nonnas,” and they prepare a familiar dramatic feast of problems and neat resolutions, but it’s hard to resist the spirit of the feature, which makes plenty of room for its actors and their unique screen appeal. Read the rest at Blu-ray.com

“Shadow Force” is a generic title that immediately brings to mind all the bland B-movies being cranked out for streaming and VOD services these days. The types of films that feature terrible action sequences, paycheck-focused stars, and paint-by-numbers screenwriting, leaving the subscribed left with empty calorie viewing experiences that are immediately forgotten. The picture is the latest from co-writer/director Joe Carnahan, who’s been doing okay with bruiser entertainment in recent years (“Boss Level,” “Copshop”), but he stumbles with his attempt at a superspy saga. Perhaps the flatness of the title is actually a proper fit for this thoroughly uninspired endeavor, as Carnahan doesn’t have freshness or ferocity to share in the offering, which plays almost exactly like every other actioner in the marketplace, and a few of the helmer’s previous efforts. Read the rest at Blu-ray.com

Andy Tennant was once a very in-demand director. He collected a few hits during his career, most notably in the romantic comedy arena, helping to bring 2005’s “Hitch” and 2002’s “Sweet Home Alabama” to box office highs. Primarily known as the helmer of fluff, Tennant looks to get a little dark with “Unit 234,” which features very few warm emotions and candied scenes of comedy. It’s a thriller from screenwriter Derek Steiner, who imagines a long night of pursuit and violence involving desperate people sneaking around a storage facility, mixing victims and aggressors while attempting to stay one step ahead of viewers. Tennant isn’t known for style, and his feel for pacing is off in the film, but there’s a level of payoff worth sticking around for. “Unit 234” actually makes its way to refreshingly dark final act, and the actors assembled mostly understand what’s required of them, getting the offering to moments of misery that are more compelling than the usual in chases and near-misses. Read the rest at Blu-ray.com

It’s been a little while since we’ve heard from co-writer/director Eli Craig. His last release was 2017’s “Little Evil,” an entertaining follow-up to his raucous debut, 2011’s “Tucker & Dale vs. Evil.” Craig is a talented helmer and someone who clearly loves genre moviemaking, heading right back into the darkness with “Clown in a Cornfield,” which is an adaptation of a novel by author Adam Cesare. It’s a YA title handed the R-rated treatment, as Craig transforms a potentially self-aware concept into a bloody but amusing ride of slasher cinema, paying tribute to the traditions of the subgenre while also exploring a little more characterization than what’s usually pursued. “Clown in the Cornfield” has substance, which is impressive, and strong performances, which is rare, and while the writing fights a feeble climax, the build to a payoff is exciting and intentionally funny. Read the rest at Blu-ray.com

Jillian Bell has made a positive impression as an actress over the years, bringing her quirky sense of humor to a few movies that needed her help, hitting a career high with her starring turn in 2019’s “Brittany Runs a Marathon.” Seeking greater control over her work, Bell makes her directorial debut with “Summer of 69,” also co-scripting with Jules Byrne and Liz Nico. It’s meant to be a throwback to the wilder ways of sex comedies from the 1980s and ‘90s, offering silly antics concerning one teen’s quest for carnal excitement as she battles her virginal state. Bell gets the endeavor up and running with a bright sense of humor and a tremendous amount of playfulness from the cast, suggesting a farce in the making. “Summer of 69” applies the brakes at the midway point, and it’s a hard, unpleasant stop for the feature, but there’s enough charm to carry the viewing experience. Read the rest at Blu-ray.com