A respected, award-winning playwright, Alesha Harris makes her filmmaking debut with “Is God Is.” She’s adapting her 2018 play, which follows the agitated state of twin sisters on the hunt for their abusive father, following orders from their mother to kill a most monstrous man. It’s a powerful study of frustration and endurance, and the material finds blasts of raw power on the big screen. Harris is mindful of cinematic needs, and she makes a ferocious endeavor, and one that’s supported by many incredibly vivid performances and sharp technical credits. “Is God Is” doesn’t always offer commanding drama, but Harris achieves most of her goals, out to create an understanding of pain and fury contained within an odyssey that sends the two main characters into Hell, giving them a life-changing awakening as their bonds are tested. Read the rest at Blu-ray.com

Once again, Guy Ritchie loves to work. His latest endeavor, “In the Grey,” is his eighth picture since 2019, finding the prolific filmmaker tearing through productions for reasons that will probably make for a good book one day. Some of these offerings have been satisfying (“The Gentlemen,” “The Covenant”), while others didn’t come together (“Fountain of Youth,” “Aladdin”), and “In the Grey” is definitely one for the “disappointment” pile. The movie hasn’t enjoyed a smooth road to release, once stuck in studio limbo waiting for reshoots that couldn’t be scheduled. Now it’s out, presumably in its initial form, and Ritchie sticks with his formula for another round of loquacious characters weaving around games of intimidation. There’s a blast of violence waiting at the end of the effort, but it takes some work to stay involved in the convoluted, undercooked screenplay and lifeless performances. Read the rest at Blu-ray.com

Writer/director Curry Barker finds a fresh way to escalate the passion of a young person’s crush in “Obsession.” It’s a fright film, but it deals with the fixations of youth and how such energy is challenged by a horrifying new reality once dark magic enters the situation. It’s Barker’s riff on “The Monkey’s Paw,” twisting adolescent concerns with a slow-burn approach that picks up on the strange details of a mistake that comes for a young man simply trying to transform his feelings for someone into reality. “Obsession” has a few darkly comedic scenes, but it’s mostly a severe examination of a twisted situation, and the helmer has the guts to get fantastically grim with the premise. This understanding of despair helps to make the endeavor special, out to leave viewers fully disturbed instead of merely upset. Read the rest at Blu-ray.com

In 2024, Steve Martin was the subject of a two-part documentary about his life and career. Martin’s good friend and show business partner, Martin Short, was featured heavily in the film, providing valuable insight and general silliness to best capture what makes their relationship work. Now Short has his own space to reflect on past achievements and emotional spaces, and Martin is there to support him. Director Lawrence Kasdan oversees “Marty, Life Is Short,” which is his first effort since 2012’s “Darling Companion,” returning behind the camera to take a good, long look at his dear friend and the incredible experience of life and love he’s enjoyed and endured over the years. The picture doesn’t take a scalpel to Short’s life and times, remaining very much in awe of the subject and his ability to persevere through so much, staying playful whenever possible. “Marty, Life Is Short” captures the magic of the man, but also offers access to a private life few have seen before. Read the rest at Blu-ray.com

Timur Bekmambetov is a strong supporter of screenlife movies. He’s produced a slew of these endeavors over the last 12 years, embracing a deep love for the single word title with offerings such as “Unfriended,” “Bloat,” “Unfollowed,” “Profile,” “Searching,” and “Missing.” And yes, he had a hand in 2025’s disastrous “War of the Worlds.” Bekmambetov (who recently helmed the box office bomb “Mercy,” which was a semi-screenlife picture) is back once again with “LifeHack,” supporting co-writer/director Ronan Corrigan, who makes his moviemaking debut with the feature, and he tries to do something a little different with the production. Instead of focusing on suspense and horror, Corrigan (and co-writer Hope Kemp) launches a heist film with “LifeHack,” using the cinematic world of keyboard-n-clicking to follow four characters as they get in deep with their thrill-seeking ways. Read the rest at Blu-ray.com

Director Daniel Roher built his career as a documentarian. He broke through with his work on 2022’s “Navalny” (which won an Academy Award), and was recently on screens with “The AI Doc: Or How I Became an Apocaloptimist.” He now tries his luck in the realm of drama, co-scripting “Tuner” with Robert Ramsey, bringing his interests in the lives of people to the ways of a small-scale thriller. There’s a lot of Hollywood lubrication with the material, which follows the ways of a sound-sensitive piano tuner turning to crime to make sure his loved ones are financially supported. Roher shows real verve with the endeavor and, for the first two acts, he has something very special in the film, which delivers a lot of life with characterization and tension. The helmer doesn’t land a particularly strong ending, but there’s an incredible foundation here worth admiring, and Roher clearly has the skills to handle fictional entanglements. Read the rest at Blu-ray.com

The poster for “An Enemy Within” features two characters covered in blood, holding big guns, while sparks fly and fire burns all around them. It’s a typical poster for an action offering, but, as it turns out, writer/director John Michael Kennedy isn’t making an action film here. He’s out to generate a character study of untrustworthy people coming together for a wedding, eventually fighting for their lives when an outside force of vengeance threatens to kill them. “An Enemy Within” is small-scale stuff, largely taking place inside a single room, with Kennedy working to keep his budget down by eliminating locations. There’s a decent idea for a night of horror in the screenplay, but the helmer doesn’t push for a more active viewing experience, basically making a filmed play with the sluggish endeavor. Read the rest at Blu-ray.com

2026 is the year of dueling Farrelly Brother projects. Last month saw the release of “Balls Up,” where Peter Farrelly attempted to launch a raunchy good time with a project that combined the usual in R-rated Farrelly humor with World Cup-themed shenanigans. It was an awful picture. Now Bobby Farrelly tries his luck with “Driver’s Ed,” which also hopes to launch a raunchy good time minus a soccer world setting, switching things over to the tenderness of the teen heart and the wonders of a road trip premise. Thomas Moffett is credited as the screenwriter on the project, but the whole endeavor plays just like every Farrelly production, supplying wackiness and sudden sensitivity, while constant profanity is meant to offer edge to a thoroughly unmemorable film. However, it’s better than “Balls Up,” giving Bobby a victory with his slightly less labored attempt to revisit the 1990s. Read the rest at Blu-ray.com

Initially published in 2022, the novel “Remarkably Bright Creatures” has become a smash hit for author Shelby Van Pelt, also serving as her writing debut. With such success comes Hollywood, and now there’s a screen adaption of the tale, with John Whittington and Olivia Newman handling screenwriting duties, out to make cinematic sense of the original text and its semi-whimsical, deeply introspective ways. Newman also directs the picture (previously helming “Where the Crawdads Sing”), and she has tremendous help from star Sally Field, who doesn’t act very often anymore, and here’s another reason why she should. Field gives a powerful performance, carrying the emotional weight of the endeavor in a tricky role that demands attention to the deep recesses of pain. The actress is splendid, and “Remarkably Bright Creatures” is graceful when it comes to investigating personal issues and Van Pelt’s somewhat fanciful ideas for friendship, sure to please those looking for a softer film to get lost in. Read the rest at Blu-ray.com

“Mortal Kombat” returned to screens with a do-over in 2021, and producers were intent on making a movie that played more like the video game that inspired it. Instead of candied action, there was blood and guts, and a major attempt by the screenplay to generate world-building capable of sustaining a fresh take on an old franchise. The picture did well, surviving pandemic release blues, but I wouldn’t fault any viewer out there who’s now a little hazy on the details of a feature that came out five years ago. “Mortal Kombat II” isn’t quite as concerned with the specifics of all the universe jumping, trying, at least for the first half of the offering, to explore the tournament setting promised at the end of the last effort. “Mortal Kombat II” offers no noticeable creative gains in screenwriting, but it remains an entertaining endeavor, returning to the violence of it all with a more capable lead actor in Karl Urban. Read the rest at Blu-ray.com

The trials of being in a long-term relationship are examined in “Couples Weekend.” The picture comes from writer/director Nora Kirkpatrick, a television helmer making her feature-length debut, and she aims to inspect the difficulties of partnership involving two couples seeking to enjoy a holiday weekend together. The screenplay doesn’t break free from the main location, and the theatrical nature of the material isn’t avoided, but Kirkpatrick takes on a few interesting areas of insecurity while trying to manage what’s basically a comedy. And she has a decent cast to aid in this understanding of doubt, with Alexandra Daddario, Josh Gad, Ashley Park, and Daveed Diggs capturing the intensity of thought as infidelities arrive during a seemingly peaceful time of celebration. Read the rest at Blu-ray.com

“The Wizard of the Kremlin” is an adaptation of a 2022 book by Giuliano da Empoli, which explored the fictional tale of a young man’s rise in Russia after the fall of the Soviet Union. The film emphasizes the “fiction” label, making distance from real events clear, especially since the tale charts the development of Vladamir Putin as he goes from government spy to the new “Tsar.” Co-writer/director Olivier Assayas clearly has a passion for this era in Russia’s history, offering viewers insight into power plays and relationships that helped to form the country as we know it today. “The Wizard of the Kremlin” is interesting when it comes to politics, exploring shifts in control and information as Putin became used to running things his way. It’s also an extremely dry viewing experience, with Assayas refusing screen momentum at times to linger on character tensions that aren’t always there. Read the rest at Blu-ray.com

Writer/director BT Meza makes his filmmaking debut with “Affection,” and he’s determined to keep things small enough to manage. It’s a tale that only features three characters, and they work through their issues in an isolated area, keeping the outside away. Where Meza is a little more ambitious is in his screenplay, which carries enough spoiler-rific turns to challenge any film critic, so those who are determined to stay completely clear of information concerning the movie shouldn’t read anything about it. Meza attempts to generate a creeping sense of danger and confusion with his study of a family challenged by undefined trauma, and he’s invested in a few genres to help him out. “Affection” does fight limited ideas and somewhat sluggish pacing, and while the endeavor scores with performances and imagery, the effort often plays like a short story being stretched to fit a feature-length run time. Read the rest at Blu-ray.com