“Deep Water” is an air disaster and shark attack picture. It’s a combination that’s perfectly suited to the directorial stylings of Renny Harlin, who made a mess of an airport in 1990’s “Die Hard 2,” and made a mess of the ocean in 1999’s “Deep Blue Sea.” Harlin hasn’t been a reliable helmer in years (recently stumbling through an attempt to revive “The Strangers” with a hopeless trilogy that wrapped up last February), but he’s back on solid ground with his latest feature, which gives the seasoned filmmaker a chance to flex old escapism muscles. “Deep Water” doesn’t stun with its dramatic intent, finding the screenplay (credited to four writers) striving to revive classic disaster movie formula and tone for the endeavor. The offering is potent in physical mode, watching Harlin manage plane horrors with some degree of comfort, though he’s more determined to find melodrama, not sustained thrills. Read the rest at Blu-ray.com

Writer/director Anders Thomas Jensen has a particular set of actors he enjoys working with, and they return to duty for “The Last Viking.” Jensen makes quality films (“Men & Chicken,” “Riders of Justice”), and his latest is no different, remaining as strange as his previous efforts, this time following the tension between two brothers as they deal with a criminal and mental health crisis while returning to their family home. The helmer keeps the picture surprising in tone and dark humor, willing to head into some difficult areas of character evolution while using idiosyncrasy to brighten up an otherwise heavy endeavor. “The Last Viking” also enjoys all the color the cast brings to the feature, including a reunion with stars Nikolaj Lie Kaas and Mads Mikkelsen, who know exactly how to handle Jensen’s often peculiar way of thinking. Read the rest at Blu-ray.com

As a writer/director, RZA is working to address certain issues in the black community. He was last seen trying to make sense of a post-Hurricane Katrina mess in 2020’s “Cut Throat City,” and now he takes on the rise of white power groups in America’s heartland in “One Spoon of Chocolate” (an odd title, but it’s explained in the picture). Of course, a lifelong fan of action cinema, RZA isn’t about to handle a story about hate and fear too seriously, electing to transform racial conflict into exploitation cinema, treating the production as though it was created in 1975. “One Spoon of Chocolate” has a lot of rage and a few potentially compelling ideas on the agitation of a nation, and certain scenes retain power. It’s also a very cluttered movie packed with half-realized ideas, missing editorial snap as the endeavor meanders to a violent conclusion. Read the rest at Blu-ray.com

A member of the comedy trio Lonely Island, Jorma Taccone hasn’t directed a feature film in a decade, last seen on the big screen with “Popstar: Never Stop Never Stopping.” He’s mostly worked in television, trying to revive the “MacGruber” brand with a streaming series few watched, and he contributed to “Knuckles,” a “Sonic the Hedgehog” spin-off show. Taccone returns to moviemaking with “Over Your Dead Body,” which is a remake of a 2021 Tommy Wirkola Norwegian picture (“The Trip”), and a darkly comedic one at that. Screenwriters Nick Kocher and Brian McElhaney (who recently created the dismal “Pizza Movie”) are out to bring European sensibilities to an American do-over, and they try to stick as close as possible to the source material. Taccone is tasked with managing the strange tone of “Over Your Dead Body,” but he can’t handle the execution, manufacturing a twisty offering that isn’t particularly funny nor all that surprising. Read the rest at Blu-ray.com

Director Baltasar Kormakur is certainly drawn to stories involving extreme physical challenges set around punishing locations. The helmer of “Everest,” “Beast,” and “Adrift,” Kormakur returns to the dangers of the natural world in “Apex,” though this isn’t a strict study of personal endurance. It’s a serial killer thriller, pitting Charlize Theron against a determined aggressor in the wilds of Australia, and while the film isn’t completely committed to the threats of the real world, it has enough of an outdoor vibe to give the helmer something to work with. “Apex” is primarily a chase picture, keeping things winded and panicked for the most part, and Kormakur understands what’s expected of him, delivering a competent take on chills and spills generated in Jeremy Robbins’s screenplay. The endeavor isn’t fully interested in building suspense all the way to a climax, but the movie gets most of the way there with a good sense of danger. Read the rest at Blu-ray.com

Writer/director David Lowery is looking to forge a very interesting career. He’s attempting to navigate two vastly different tastes in material, spending part of his time on accessible Disney offerings such as 2016’s “Pete’s Dragon” and 2023’s “Peter Pan & Wendy.” He’s also presented esoteric visions for art-house releases, including 2017’s “A Ghost Story” and 2021’s “The Green Knight.” For “Mother Mary,” Lowery ends up somewhere in between the extremes. It’s definitely not another Disney production, but the helmer is looking to use the current dominance of pop music majesty to explore the aching intimacy of a friendship/collaboration that once meant something mighty to two women fighting to communicate their real feelings during a sudden reunion. “Mother Mary” is symbolic and stagey, but Lowery delivers impressive visuals throughout the picture, which help to engage when the story itself isn’t much of a draw. Read the rest at Blu-ray.com

Considering the ways of the world these days, there’s certainly room for another big screen adaptation of George Orwell’s allegorical novella, “Animal Farm.” However, it’s not entirely clear if moviegoers need one that features flatulence, feces, and “The Price is Right” jokes. Screenwriter Nicholas Stoller and director Andy Serkis set out to transform Orwell’s original writing into a more approachable understanding of power and corruption for younger audiences, using Orwell’s work as the foundation for the picture, which is quick to explore other areas of crisis and conformity in an effort to fill a sellable run time. “Animal Farm” retains some potent ideas on political control and community failures, but Serkis and Stoller are after something flashier with the endeavor, and the cartoon-y approach does more to undermine the story’s message than help it reach young minds. Read the the rest at Blu-ray.com

When it comes to the life and times of Michael Jackson, there’s enough material to fill four movies. However, there’s only one “Michael,” and screenwriter John Logan has to pick his battles when trying to fit an enormous legacy into a 125-minute-long film, and such stress shows throughout the viewing experience. Director Antoine Fuqua is out to make a very glossy picture about Jackson, which follows parts of his childhood to his music domination of the 1980s, making sure to sell the legend of the subject without delving too much into the reality of this extraordinary life. “Michael” is for the fans, and the production isn’t trying to hide such intent, making a hagiography about a complicated man and his very public battle with image and mental health. All the rough edges have been professionally sanded down by Logan and Fuqua, and perhaps this is what the faithful wants, presented with two hours of the cuddliest, kindest Michael Jackson imaginable. Read the rest at Blu-ray.com

“Desert Warrior” hasn’t enjoyed a smooth ride to release. The feature was shot five years ago and has endured plenty of behind-the-scenes conflicts preventing it from reaching theaters. And now it’s finally here, and the curious will probably get the most out of the viewing experience, watching director Rupert Wyatt (“Rise of the Planet of the Apes,” “Captive State”) aim to stage big, widescreen action and deal with fiery performances. The helmer has the money to do it, with the production happy to show off its expanse, as Wyatt is openly trying to sell the epic qualities of the picture. It’s the rest of “Desert Warrior” that isn’t as convincing, with editorial clunkiness and dramatic lethargy hurting the endeavor, preventing it from achieving a more dominating cinematic presence. There are highlights to enjoy, but it takes quite a bit of patience to wait for them. Read the rest at Blu-ray.com

Writer/director/producer/star Kevin Interdonato wants to make a crime film with “Dirty Hands,” looking to get tough with a study of brotherly bonds and underworld entanglements. Instead of getting inspired with the material, Interdonato turns to Tarantino for influence, generating another study of profane characters stuck in bad situations, with dialogue prioritized over physical activity. The helmer doesn’t have a budget to work with, as most of the action in the picture is contained to a single room. He doesn’t have much drama as well, losing viewer interest as potentially tense confrontations are passed on for the same old stuff in genre moviemaking. “Dirty Hands” disappoints, but it does have a few capable performances to make it passably interesting at times, with Interdonato wisely surrounding himself with more commanding thespians, helping him to find the threat level he’s looking for. Read the rest at Blu-ray.com

Cole Webley makes his directorial debut with “Omaha,” electing to create a small, intimate story about a road trip. However, this is no ordinary journey across the country, putting screenwriter Robert Machoian (helmer of “The Integrity of Joseph Chambers” and “The Killing of Two Lovers”) to work generating a mystery of sorts, keeping matters enigmatic as the characters experience everyday challenges during a time of travel. The true power of the story emerges in its final moments, but there’s plenty to take in while watching “Omaha,” which examines tough feelings and parental struggles during days of tremendous difficulty. It’s not an easy sit, but for those who usually seek out films about human experiences, Webley and Machoian generate a powerful one, using a real world situation of surrender to inspire an intimate study of desperation. Read the rest at Blu-ray.com