Trying to shed her image of youthful innocence shaped in films such as "E.T." and "Babes in Toyland," Drew Barrymore entered the 1990s on a personal crusade to show Hollywood just how much she's aged. For 1992's "Poison Ivy," Barrymore tries jailbait seductress on for size, participating in a sensual chiller from the helmer of "Stripped to Kill." Mercifully, there's more going on in "Poison Ivy" than simple acts of thrusting, with co- writer/director Katt Shea fighting the potential salaciousness of the plot, trying to dig deeper into character psychology and moody gamesmanship. Shea almost gets there with her noticeable effort, but the feature's Skinemax absurdities tend to overwhelm whatever grit manages to find its way to the screen. Read the rest at Blu-ray.com

Screenwriter Zack Stentz and director McG are trying to make a next-generation “Goonies” with “Rim of the World,” only instead of kids on their own hunting for pirate treasure, the children featured here are in charge of saving the world from an alien attack. The premise is irresistible, holding the potential for sci-fi adventure and adolescent antics, but the production doesn’t follow through on wonder and silliness. “Rim of the World” is shockingly corrosive instead, with a painful sense of humor and a budget-minded take on intergalactic war, with Stentz trying to muster R-rated shenanigans with material that’s aching for something more special than a collection of lame improvisations and generic young teen rebellion beats. It’s definitely bright and colorful, but the movie has no sincerity. Read the rest at Blu-ray.com 

“Brightburn” offers a premise where a Superman-like figure is born bad. Fans of comic book cinema have seen this before, in “Superman III” and sections of “Justice League,” but writers Brian and Mark Gunn have decided to push the idea into the realm of horror, losing fantasy touches to move full steam ahead into slasher territory. It’s a shame the screenplay doesn’t show more interest in doing something original with a well-worn concept, but this is a low-budget chiller after all, giving the production little room to experiment as it tries to deliver frights. “Brightburn” has promise in its early scenes, moving toward an unsettling confrontation between a wicked alien and loving parents trying to preserve peace, but the Gunns are mostly in this for the gore, cooking up a series of banal stalking sequences, while the overall movie feels half-baked at best. Read the rest at Blu-ray.com 

“Rocketman” has the appearance of a typical musician bio-pic, this time focusing on the highs and lows of Elton John as he grows from a musical prodigy to a rock star. It’s hard to doubt the routine of it all, with “Bohemian Rhapsody” smashing box office records and Motley Crue’s “The Dirt” capturing viewers on Netflix. “Rocketman” isn’t about to deny the popularity of tales involving musicians caught in psychological strangleholds, but this is Elton. Hercules. John. He’s one of the most flamboyant and popular entertainers around, but his life story isn’t complete, with screenwriter Lee Hall and director Dexter Fletcher transforming certain aspects of John’s experience into a jukebox musical that teases delightful fantasy, but mostly fixates on depression. The feature works to pry John open, inspecting his demons and dreams, but the movie only finds intermittent clarity. The rest is frustrating repetition, though star Taron Egerton makes it his personal mission to feel everything offered here in full. Read the rest at Blu-ray.com 

Olivia Wilde is looking to expand her career, taking control of her professional future with a move behind the camera for “Booksmart,” her directorial debut. While she’s been growing as a performer, taking a few interesting risks, Wilde seems most comfortable as a helmer, displaying thrilling confidence with her first feature, which takes on the teen sex romp subgenre and finds ways to disrupt expectations and deliver a clear vision for companionship. It’s a buddy comedy that contains a lot of laughs, but Wilde isn’t completely focused on the jokes, instead working with the screenwriters (Katie Silberman, Sarah Haskins, Emily Halpern, and Susanna Fogel) to deliver stronger characters to best support episodic shenanigans, largely avoiding the grimly vulgar nonsense these types of pictures are known for. Read the rest at Blu-ray.com

For the second installment of Disney’s Year of Animated Remakes, there’s “Aladdin,” which is a live-action reworking of one of the company’s finest animated offerings, with the 1992 picture filled with heart, humor, and wonderful songs. Following in the footsteps of March’s “Dumbo,” the new release tries very hard to downplay cartoon whimsy and fluidity to become yet another underwhelming, CGI-shellacked event, taking audiences to a version of Agrabah that doesn’t look or sound quite right. Director Guy Ritchie (who co-scripts with John August) has the unenviable task of turning something joyous and relatively simple into an epic summertime blockbuster, continuing his recent big-budget career freefall (following duds “King Arthur: Legend of the Sword,” and “The Man from U.N.C.L.E.”) with yet another hollow viewing experience devoid of real magic. Read the rest at Blu-ray.com

“We Have Always Lived in the Castle” is a highly bizarre picture, and this type of strangeness always has the potential to dissolve in the filmmaker’s hands, requiring someone committed to weirdness without permitting the movie to be dominated by eccentricity. The feature is based on a novel by Shirley Jackson, and screenwriter Mark Kruger makes a specific effort to retain as much literary flavor as possible, organizing curious characters and their fried minds as they interact in tight spaces, inspect the depths of dysfunction. Director Stacie Passon (previously reaching screens with the unusual “Concussion”) miraculously maintains control of tone and threat, giving “We Have Always Lived in the Castle” an intriguing atmosphere, joining Kruger to examine insanity and not lose concentration on the storytelling essentials along the way. Read the rest at Blu-ray.com

As 2019 becomes the year of Charles Manson and the revival of interest in all the chaos he created, “Charlie Says” (the second of three movies about the man this year) makes an effort to move away from some of the famous imagery and characterization that usually inhabits tales about the cult leader. The focus here is on the women in his life, with special attention on the ways of Leslie Van Houten, Patricia Krenwinkel, and Susan Atkins. Reteaming after their collaborations on “American Psycho” and “The Notorious Bettie Page,” director Mary Harron and screenwriter Guinevere Turner endeavor to humanize those involved in barbaric crimes, striving to understand the brainwashed drive of three women who were caught up in something they didn’t completely understand, chasing emotional needs to macabre extremes. Read the rest at Blu-ray.com

The director of “The Girl from Paris” and “Joyeux Noel,” Christian Carion sets up a story of a strange kidnapping for “My Son.” A French production, nothing is immediately clear in the tale (scripted by Carion and Laure Irrmann), which blends the terror of sudden loss and the weight of guilt with those forced to deal with such a horrific invasion. While the nightmare seems to lean toward the bitterness of domestic resentment, Carion has something more visceral in mind, keeping away from a somber Euro analysis of pain to become a thriller of sorts, gifting star Guillaume Canet is own chance to perform in a “Taken”-lite actioner. “My Son” is tense and twisty, and it doesn’t mess around with melodrama, with Carion most interested in feral responses to an unthinkable situation. Read the rest at Blu-ray.com

Scott Adkins has amassed a considerable amount of acting credits during his career, but it’s difficult to tell if he’s been truly challenged by any of these roles. He’s played a henchman, a terrorist, a ninja, and more henchmen, basically permitted to perform in movies that require more physical movement than dramatic depth. “Avengement” is definitely a violent endeavor, and there’s plenty of Adkins action where the star is often stuck in a room with multiple baddies, forced to bash his way out of some deadly situations. However, beyond the bloody knuckles is a performance, and one that single-handedly supports “Avengement,” giving it the grit and groan it requires to register as something more than a mindless distraction. Co-writer/director Jesse V. Johnson tries to execute some storytelling gymnastics along the way, but Adkins is the foundation here, delivering perhaps the best performance of his career. Read the rest at Blu-ray.com

“Funny Story” is a very small movie about rather large emotions. Screenwriters Steve Greene and Michael J. Gallagher (who also directs) initially establish a slight Woody Allen-esque vibe to the piece, playing light with relationship woes and uncomfortable pairings, but there’s a serious side to the material as well, and when it hits, it hits hard. Thankfully, before characters elect to bring the pain, there’s playfulness to the feature that’s enjoyable, with star Matthew Glave delivering a performance of effortless charm and sharp timing, giving “Funny Story” a pleasant attitude before it grows completely dark, and at the very last minute too. It radiates film festival catnip, but the picture stands on its own, paying attention to wounded people and their habitual interest in making mistakes. Read the rest at Blu-ray.com

Director Tony Bill started his career making gentle pictures about human concerns. He dealt with friendship in 1980's "My Bodyguard," and finality in 1982's "Six Weeks," returning to the land of tearjerker entertainment with 1993's "Untamed Heart." Working from a screenplay by Tom Sierchio, Bill aims to create an unabashedly earnest film about love and devotion, pulling the characters away from gritty authenticity for 100 minutes of sweetened romance, inching toward a fairy tale with this story of two sensitive people finding each other in an unusual way. "Untamed Heart" isn't for cynics, as Bill doesn't weigh the feature down with too much of the hard stuff, preferring to remain in a glow of attraction and protection, touching on mild fantasy overtones that probably wouldn't hold up in the cold light of day, but connect beautifully in the seasonal light. Performances from Christian Slater and Marisa Tomei secure Sierchio's aim to create a something of a cosmic connection between lost souls, while Bill stays in touch with the fragile atmosphere of the movie, which is captured in a deeply heartfelt way. Read the rest at Blu-ray.com 

"Murder Rock" is the result of a filmmaker who wanted to craft a murder mystery and producers who craved a "Flashdance" knockoff. The genres are smashed together in this 1984 release, and the results are expectedly odd. "Murder Rock" comes from director Lucio Fulci, who assembles a proper giallo, unleashing chaos inside a troubled dance academy, offering familiar sights of black-gloved killers and dreamscape visits, keeping on track with this whodunit. The feature also pays close attention to trends of the day, offering breakdancing and gyrations to go with all the gore (the production could use an anatomy lesson, but it's bloody), providing a dance marathon for a helmer who isn't quite as taken with physical movement as he is with physical pain. Read the rest at Blu-ray.com

After the 1996 release of "Scream," horror suddenly found itself popular again, engaging with a new generation by mixing old tricks with new commentary, giving rise to the popularity of self-aware productions stacked with a roster of pretty people. Director Jamie Blanks participated in the movement with 1998's "Urban Legend," emerging with a modest hit, but one that kept the trend alive, paving the way for more similarly themed endeavors to follow. With 2001's "Valentine," Blanks makes a choice to move away from the growing routine, looking to craft throwback entertainment with the effort, which takes its inspiration from early '80s slasher films. Blanks isn't completely successful with "Valentine," which is weighed down by numerous problems, but in the midst of familiarity, Blanks chose to go retro, doing so with hopes to achieve frights from direct shots of stalking and stabbing. His attempt is admirable, but can't quite get the feature to the point of hysteria it needs to reach. Read the rest at Blu-ray.com

Unlike a lot of giallo that make it a point to deliver shocks before settling into a mystery, 1977's "The Psychic" (titled "Murder to the Tune of Seven Black Notes" on the print) doesn't mind a slower pace. Director Lucio Fulci takes his time with this tale of one woman's struggle with murderous premonitions, gradually working through the layers of the crime and its suspects, trying to make a meal out of the central crisis. It's not a feature that wins on thrills alone, but "The Psychic" is the rare endeavor to actually master a payoff worth waiting for, using stillness to help increase tensions before revealing all in the macabre finale. Read the rest at Blu-ray.com

The genuine surprise of 2014’s “John Wick” led to the equally surprising “John Wick: Chapter 2,” which was the rare sequel to understand what made the original offering tick, electing to develop its strengths while gracefully expanding an assassin universe merely teased in the previous installment. The adrenaline rush should be weakening at this point, but nobody told that to director Chad Stahelski, who returns to active duty with “John Wick: Chapter 3 – Parabellum,” keeping up the good fight with an enchantingly chaotic second sequel that’s ready to deliver the battered and shattered goods once again, only this time there’s a distinct plan to move forward with the series instead of banging around from one sequel to the next. Keanu Reeves as John Wick. There’s not much more one needs from the saga at this point, but “Chapter 3” has plenty of eye-opening moments featuring blunt force trauma, and while Stahelski has some difficulty knowing when to cry uncle, he’s more than ready to showcase an exquisite display of stunt work. Read the rest at Blu-ray.com

They combined forces on comic book pages, and now they’re set to conquer animation. “Batman vs. Teenage Mutant Ninja Turtles” brings together two beloved superhero properties, though with wildly disparate backgrounds and standings in pop culture history. Screenwriter Marly Halpern-Graser completely understands the assignment and does a terrific job uniting Batman and the Turtles to face a common foe. A few of them, actually. Action-packed and humorous without being excessively goofy, “Batman vs. Teenage Mutant Ninja Turtles” does really well within budget animation standards, with director Jake Castorena presenting a stylized, PG-13 extravaganza that’s peppered with enjoyable characters and major showdowns, giving fans the breezy, bruising sit they’ve been waiting for. Read the rest at Blu-ray.com

David Dastmalchian makes his feature-length writing debut with “All Creatures Here Below,” and the actor makes a leap to take control of his career as a character actor, scripting himself a leading role in this downbeat drama. Taking inspiration from Terrence Malick and John Steinbeck, Dastmalchian and director Collin Schiffli present an American story of poverty and travel, trying to find the humanity in pure survival and denial. This is a not a cheery tale of misbegotten liberation, it’s something far grittier and troubling yet impressively managed by the production, which manages to find poetry within a dire living experience. Dastmalchian isn’t afraid to go to dark spaces with the material, but his attention to character behavior cuts through any bleakness, getting to know the personalities presented with unsettling intimacy. Read the rest at Blu-ray.com

It’s been a long time since Johnny Depp played a normal human being. Perhaps he’s never played a role perfectly straight, at least since megafame arrived to claim his everyman appeal. “The Professor” provides the most earthbound Depp performance in a very long time, but that doesn’t mean the actor is ready to holster all his thespian quirks. Instead of Depp losing contact with reality to entertain himself, he’s challenged to play a man facing the end of his life, with all sorts of sobering feelings triggered after such a revelation. It’s not an easy turn for anyone, but Depp makes an attempt to dial down his eccentricities for writer/director Wayne Kramer, working hard to follow the helmer’s often bizarre tonal journey that begins with laughs and tries to end with tears, only most of the emotion doesn’t track as clearly as it should, periodically inspiring Depp to manufacture his own version of the movie with expected exaggeration. Read the rest at Blu-ray.com

2017’s “A Dog’s Purpose” had the advantage of being based on a popular novel by W. Bruce Cameron, giving fans a chance to see the book translated for the big screen. Schmaltz was piled high and its sense of humor was dismal, but “A Dog’s Purpose” found its audience, becoming a hit film. And with any box office success comes a sequel, following Cameron’s lead with “A Dog’s Journey,” which is also based on his work, continuing the adventures of Bailey, the canine who loves to die. While the first feature tried to shoehorn existential consideration into a picture that was mainly about extracting tears and arranging poop jokes, “A Dog’s Journey” doesn’t put in the same effort, eschewing deep thoughts to become a tired melodrama, playing like a Tyler Perry movie, but with dogs. Read the rest at Blu-ray.com