Director Curtis Harrington creeps in the mind of a murderer in 1973's "The Killing Kind," which, in a way, could be approached as a kind of prequel to "Psycho," observing the psychological thin ice created when a son has a special relationship with his domineering mother. Harrington doesn't completely cross over into slasher territory, instead finding fright in the cracking of a young man's psyche, surveying the sinister creep of dangerous behavior as it grows over the course of the run time. "The Killing Kind" isn't lively in the least, but those able to tune into special frequency of dysfunction and dangerousness are rewarded with an unusual study of evil, brought to life by leads John Savage and Ann Southern. Read the rest at Blu-ray.com

To be fair to "Big Trouble," it's not like it had a chance to be a success at the box office. A chaotic comedy that includes a subplot concerning the movement of a nuclear bomb around an airport, the movie was originally scheduled for release on September 21st, 2001, only to find its content reconsidered by Disney after the 9/11 terrorist attacks, who decided to push the release date to April, 2002. By the time the feature finally opened, it was damaged goods, lacking a refreshed marketing push and positive press, with the studio basically scraping the film off the bottom of its shoe before moving on to more important pictures in the pipeline (like "The Country Bears" and "The Hot Chick"). "Big Trouble" isn't a masterclass in cinematic storytelling, but as silly, swiftly paced ensemble endeavors about Floridian mischief go, it's very entertaining, becoming something of a highlight in the disturbingly uneven career of director Barry Sonnenfeld. Read the rest at Blu-ray.com

The marketing for 1938's "The Adventures of Tom Sawyer" promises a throwback viewing experience for audiences looking to detach from the hustle and bustle of the modern age. Producer David O. Selznick follows this mission in the film as well, opening with a quote from author Mark Twain, selected to remind ticket-buyers that the material is meant to evoke the mischief and raw emotion of childhood. Selznick orders up a highlight reel of Twain's novel, but his intended tone carries throughout, delivering a spirited take on "The Adventures of Tom Sawyer" that's big on gesturing, reaction, and episodic tangles with authority and danger. Read the rest at Blu-ray.com 

While they’ve both been working in film and television for decades, “The Breaker Upperers” is terrific chance to become fully aware of the talents possessed by stars Madeleine Sami and Jackie van Beek. They’re manufacturing their own opportunity with the picture, also accepting screenwriting and directorial duties, working to craft a farce that pokes fun at the fear of ending commitment, taking a business of break-ups to farcical highs. A production from New Zealand, “The Breaker Upperers” is extremely funny and surprisingly tight, with Sami and van Beek keeping their endeavor rolling along with some wackiness and dry humor, creating their own vehicle to display their stuff, which is often fantastic stuff. Read the rest at Blu-ray.com

Now six years into his retirement, Steven Soderbergh continues to work on his iPhone moviemaking revolution with “High Flying Bird,” which is debuting a year after his smartphone-shot thriller, “Unsane,” failed to catch much heat at the box office. Turning to Netflix for his distribution needs, Soderbergh sheds production risks and takes a chance on unusual material for his latest endeavor, which takes a brief look at the world of NBA ownership and leadership, and how the game is actually played with billions of dollars on the line. Staying true to his artistic interests, Soderbergh goes minimal, returning to the iPhone for cinematographic needs and working with a screenplay by Tarell Alvin McCraney, who takes more than a few jabs at the state of the basketball union with his sharp screenplay, inspiring the helmer to doing something a little differently than his traditional offering of passivity. Read the rest at Blu-ray.com

Writer/director Tim Sutton wants to bring the pain with “Donnybrook.” With previous credits including “Memphis” and “Dark Night,” Sutton is no stranger to the unpredictability of human behavior, putting some thought into the construction of his screenplay, which not only examines vicious interactions between unstable characters, but takes a good long look at the current state of America, focusing on an impoverished community of addicts and killers. There’s no joy to be found in “Donnybrook,” but there’s not a lot of engrossing anger either. Sutton is making his western here, only everyone is a black hat and they spend the movie cycling through the same reaction to utter despair. It’s a glacial feature, with the helmer mistaking length for profundity, unable to connect with his overall effort to dissect violence as it’s experienced by those who can’t, or won’t, escape abuse. Read the rest at Blu-ray.com 

Just 15 months ago, there was “Happy Death Day.” The Blumhouse production wasn’t aiming very high with its mixture of comedy and horror, offering younger audiences their own “Groundhog Day,” fitting a slasher movie set-up for a time loop gimmick. The PG-13 frightener clicked with audiences in the mood for a wacky distraction, giving Halloween 2017 a slight boost at the box office. Terrified of losing such momentum, writer/director Christopher Landon went right back into production, churning out a quickie sequel in “Happy Death Day 2U,” hoping to retain the limited attention span of certain viewers these days. There’s lots of room for improvement, but Landon merely hints at creative escalation with the follow-up, which chases a tale about a killer in a baby mask with another tale about a killer in a baby mask. There’s a heavy “Back to the Future” influence this time around, for everything except sequel quality. Read the rest at Blu-ray.com 

Director Todd Strauss-Schulson already did this kind of movie four years ago. It was titled “The Final Girls,” and it deconstructed and lampooned slasher film cliches. It was a bit like shooting fish in a barrel, but it worked, showcasing agreeable humor and enthusiasm for the genre it was pantsing. Strauss-Schulson returns to the well with “Isn’t It Romantic,” which trades a serial killer for Rebel Wilson, delivering her solo starring debut, which takes apart formula found in romantic comedies, offering a self-aware spin around lovey-dovey entertainment. In keeping with Wilson’s style of humor, there’s nothing subtle or sly about “Isn’t It Romantic,” which often delights in pointing out absurdities in rom-coms while wrapping itself in the same comfortable repetition, offering confusion with its ultimate summation of empowerment, and its jokes just aren’t all that funny. Read the rest at Blu-ray.com

While "Saturday Night Live" scored a box office success with 1980's "The Blues Brothers," it was 1992's "Wayne's World" that really opened Hollywood's eyes to the potential of turning sketches into cinema. "Wayne's World" was special, with incredible spirit, timing, and charm from the cast, giving it a unique alchemy that would be difficult to repeat. But that wasn't going to stop producers (including "SNL" creator Lorne Michaels) from trying. Just two years after Mike Myers and Dana Carvey headbanged their way into everyone's hearts, "It's Pat: The Movie" showed up, trying to siphon some of the magic dust that was left behind. Perhaps the endeavor was a smart business decision, but creatively, it's difficult to understand who really thought there was potential in turning a one-line joke from a late night sketch show into a major motion picture. "It's Pat: The Movie" is horrible, no shock there, but to watch the endeavor gasp for air for an unexpectedly long 74 minutes is painful, finding star Julia Sweeney trying with every fiber of her being to keep the sinking ship moving along before it hits bottom. Read the rest at Blu-ray.com

In the quest to turn Tom Selleck into a movie star, Hollywood ended up with a few decent franchise-starters to help the actor along. Audiences didn't accept the "Magnum, P.I." lead as a viable source of big screen thrills, but Selleck's efforts to forge a career found him accepting colorful roles, with one of his better starring vehicles being 1990's "Quigley Down Under," which brought the American to Australia to reexamine the western in a new land, portraying a classic genre character. Helping the cause is director Simon Wincer, who previously helmed the beloved mini-series "Lonesome Dove," trading pained reflection for grander thrills in his homeland, working to bring some classic John Ford spirit to the picture. "Quigley Down Under" benefits from such enthusiasm, with the cast (including Laura San Giacomo and the late, great Alan Rickman, here in his bad guy prime) providing a level of life to the screenplay by John Hill, who's trying to bring the traditions and concerns of the Old West to an alien land, investigating issues of racism and masculinity where few might expect it. It's not an entirely triumphant endeavor, but Selleck delivers one of his best performances as the titular sharpshooter, showcasing a full understanding of the job at hand as he gives a nicely leathered and unsettled performance for Wincer, who's also in hog heaven positioning heroes and villains, while spotlighting longstanding issues from Australia's past. Read the rest at Blu-ray.com

1982's "Incubus" doesn't waste time, making sure to dump as many characters and situations on the audience as possible during the initial act of the movie, leaving them with little to invest in as the story begins to take shape. Confusion is a common feeling during the picture, as director John Hough ("The Watcher in the Woods," "Return from Witch Mountain") doesn't pay the closest attention to the particulars of this horror endeavor, electing to take star John Cassavetes's lead and just wing it from one end of the tale to the other. It's a loose improvisational quality that provides most of the production fog that clouds "Incubus," which is an otherwise competently crafted genre effort that looks and sounds like a proper low- budget chiller. Read the rest at Blu-ray.com

It's easy to understand why Hollywood tried for a short amount of time to make basketball player Shaquille O'Neal a movie star. He's an unusual screen presence, with massive size and spirit, and he brings a built-in audience with him, tempting NBA fans into the multiplex to see what the star is up to when he's not on the court. There's a long list of athletes who've made the transition to acting, but for O'Neal, dramatic legitimacy was probably never in the cards. Making an impression in 1994's "Blue Chips," the hulking man made a critical error in judgement for his follow-up, trusting the Disney touch with "Kazaam," a family film that turns O'Neal into a rapping genie with a magic boombox trying to help out a streetwise kid with his daddy issues. The intent is clear, giving the star over to his young admirers for a PG-rated adventure that's heavy on slapstick. However, in the hands of director Paul Michael Glaser, "Kazaam" turns into one big chore to sit through, clinging to the comfort of formula while acting is uniformly awful, failing to hide O'Neal's lack of thespian training. Read the rest at Blu-ray.com 

2014’s “In Order of Disappearance” was a special Scandinavian movie (receiving a U.S. release in 2016), taking the framework of a traditional revenge saga and turning it inside out, making the experience about blood and rage, but also character and calmness, with director Hans Petter Moland finding ways to give the film eccentricity without dipping into quirk, also guiding star Stellan Skarsgard to one of the best performances of his career. The picture was fantastic. “Cold Pursuit,” the inevitable American remake of “In Order of Disappearance,” isn’t. While Moland returns to duty, trying his hand at the Hollywood game, his sense of darkness has been severely dulled, stuck trying to translate something with specific cultural ties for the Liam Neeson Hit Factory, which only seems interested in broad comedy and tuneless performances. Read the rest at Blu-ray.com

The world of “Alita: Battle Angel” is massive, and it requires the control of a filmmaker who can manage the bigness of action and the intimacy of character. Robert Rodriguez, despite landing a handful of creative successes, is not someone with a track record that inspires confidence is his abilities to whisk audiences away to a complex fantasy realm. There’s a lot to unpack with this feature, an adaptation of a 1990 manga, and Rodriguez isn’t quite up the challenge of providing engrossing storytelling. “Alita: Battle Angel” is teeming with technical achievements and ambitious epicness, but it’s winded easily, frequently caught up in expositional quicksand, failing to make something exciting while it spends a substantial amount of screen time trying to verbally itemize a world that’s better off revealed in purely cinematic ways. Read the rest at Blu-ray.com 

We live in an entertainment world where no-budget films with few redeeming production values are created, often using outrageous titles simply to attract attention (e.g. “Sharknado,” “Mega Shark Versus Giant Octopus”), suckering in those on the prowl for wacky good times. “The Man Who Killed Hitler and Then The Bigfoot” absolutely qualifies as B-movie identification of the highest order, offering an eye-catching promise of Asylum-style nonsense, playing up a connection between real-world evil and one born from myth. Mercifully, writer/director Robert D. Krzykowski isn’t interested in self-aware comedy, finding a way to turn such a genre-smashing promise into a meditation on aging and memory, perking up now and then to deal with the realities of wartime and forest extermination. “The Man Who Killed Hitler” is serious work, which is its greatest surprise, presenting severity of feeling and violence without feeling the need to rely on cheap shenanigans. Read the rest at Blu-ray.com

“What Men Want” is a remake of a 2000 Nancy Meyers comedy, which tried to make something silly and mushy out of Mel Gibson, back when that was still a possibility. It was a PG-13 production, as vanilla as it gets, with Meyers overseeing a mild battle of the sexes premise that shifted from frivolity to a deadly serious conclusion that touched on suicide. It was typical of Meyers’s uneven work, and the screenplay was certainly ripe for a do-over. Enter Adam Shankman, a crude helmer of terrible movies (“The Pacifier,” “Rock of Ages”), who has the bright idea to play “What Men Want” as broadly as possible, stuck between his desire to craft a hard R-rated version of the tale and the perceived demands of the mainstream audience, with sincerity trying to worm its way into a film that has no use for it. Shankman doesn’t know what he’s doing with the feature, so he does nothing, coasting on painfully inept jokes and sporadic ugliness to complete the job. Read the rest at Blu-ray.com

Writer/director Asghar Farhadi is primarily known for his Iranian dramas, scoring major critical successes with efforts such as “The Salesman,” “A Separation,” and “About Elly.” Ready for more global awareness, the helmer takes baby steps toward the mainstream with “Everybody Knows,” which utilizes a sampling of star power to nab attention, finding Farhadi teaming with actors Penelope Cruz and Javier Bardem to help carry a kidnapping mystery. However, “Everybody Knows” is not a nail-biter with chases and whiplash turns of fate. It remains in line with Farhadi’s previous work, with primary attention placed on the internal churn of decision-making and the troubles that come with longtime relationships and secretive connections. Those expecting something more explosive from the filmmaker this time out might be disappointed, but slow-burn tension is there, realized through accomplished performances from the entire ensemble. Read the rest at Blu-ray.com

Making her debut as a writer/director is Emma Forrest, who chooses an L.A. tale of mismanaged love in “Untogether,” making use of a large ensemble to create tight spaces of relationship woes. As career launches go, Forrest doesn’t select the most original route for her storytelling journey, dealing with broken people making terrible decisions, but there’s an effort found in select scenes to resist cliché, to find the real impulses behind sexual unions that are clearly masking other needs. “Untogether” drops sharpness and nerve as it goes along, eventually ending up a puddle of feelings and ideas in search of a more prepared filmmaker, as Forrest loses her way early and never gets back to the core display of confusion she begins with. Read the rest at Blu-ray.com

Director Darren Lynn Bousman was introduced to the world as a horror moviemaker, proving his speed with low-budget hits in “Saw II,” “Saw III,” and “Saw IV,” playing his part in the continuation of a series that wasn’t big on variation to begin with. Bousman remained with fright films, some imbued with musical numbers, determined to make his mark on the genre, despite ample evidence that perhaps the conjuring of screen violence just isn’t his forte. After dragging along with tedious work in “Abattoir” and “The Barrens,” Bousman keeps his dream alive with “St. Agatha,” which turns to evil nuns to bring on the nightmare fuel. Of course, other helmers have beaten him to the punch when it comes to the secretive ways of religious servants, and “St. Agatha,” which strives to be stylish, has nothing interesting to share on the state of Catholic imprisonment, with Bousman returning to his old bag of tricks to emphasize an agonizing situation. Read the rest at Blu-ray.com

Matt Walsh is a comedic actor who’s been pushing his way into bigger and better roles over the last decade. He’s been in a lot of things, often portraying uptight characters, playing into his naturally submissive presence, and he’s managed to amass an impressively detailed filmography. With “Under the Eiffel Tower,” Walsh graduates to leading man status, taking command of a “Sideways”-style tale of a man’s mental breakdown while visiting what many would consider paradise. Co-writer/director Archie Borders puts a lot of faith in Walsh, whose job here is to create a dimensional character with peaks and valleys of fallibility but still remain approachable, even understandable. Walsh does fine in the part, but “Under the Eiffel Tower” has a problem with likeability, which becomes an issue with a movie that’s hoping to make a warm impression on viewers. Read the rest at Blu-ray.com