"Daniel Isn't Real" is probably the film 1991's "Drop Dead Fred" should've been. Instead of offering mind-numbing monkey business with the premise of an imaginary friend returning to the adult life of his inventor, "Daniel Isn't Real" goes pitch-black with the concept, treating the invisible partner as a driving force of encroaching madness. Co-writers Adam Egypt Mortimer (who also directs) and Brian DeLeeuw (adapting his 2009 novel) don't mess around with the story, transforming one young man's fight for sanity into a violent journey that crosses through mental illness, cosmic dangers, and destructive behavior. It's an unhinged endeavor at times, but a fascinating one, bravely avoiding cutesiness to remain in Hell, where Mortimer feels most comfortable. Read the rest at Blu-ray.com

1988’s “Beetlejuice” was a special film. It arrived when director Tim Burton was young and hungry, trying to make sense of a Hollywood career after the unexpected success of his feature-length helming debut, 1985’s “Pee-Wee’s Big Adventure” (arguably his best movie), handed another chance to create something strange for the masses. And “Beetlejuice” was certainly weird, but creative and hilarious as well, embracing Burton’s love of the macabre and monkey business, also giving star Michael Keaton one of his best roles as a wiseacre demon. After the endeavor scored big at the box office, sequels were discussed….for decades. Finally, Burton and Co. have returned with “Beetlejuice Beetlejuice,” a follow-up that intends to keep the party going for the brand name. The production’s joints are a little rusty and the writing is overstuffed, but there’s fun to be had with “Beetlejuice Beetlejuice,” especially when Burton taps into his old madness and Keaton is permitted to get goofy with his most distinct creation. Read the rest at Blu-ray.com

Jeremy Saulnier has impressed with his directorial offerings, but he hasn’t released a picture in six years, last seen on screens with 2018’s “Hold the Dark.” The “Blue Ruin” and “Green Room” helmer returns to the brutality of man in “Rebel Ridge,” which examines the depths of police corruption in a small town setting, offering beats of action as a detective story of sorts develops. Also writing the endeavor, Saulnier returns to his slow-burn ways, exploring acts of survival and partnership in the south, and while the feature certainly teases a Liam Neeson-y direction, the film doesn’t fully indulge such escapism. Saulnier prefers to make something more literary-esque, delving into complicated characters and the secrets they keep. As with “Hold the Dark,” overlength is an issue here, but “Rebel Ridge” mostly holds together as an engrossing thriller with excellent performances all around. Read the rest at Blu-ray.com

There are many television shows about kitchen renovations and, well, nightmares, detailing the struggles of restaurant owners who begin to understand the scope of their problems when it comes to running a successful business. For “South Park” creators Matt Stone and Trey Parker, such horror is multiplied tenfold when they purchased the Casa Bonita eatery, located in Colorado, in 2021. The establishment, the “Mexican restaurant Disneyland,” represented sunny memories for the pair (especially Parker), returning them to the days of their youth, when all a kid needed were the wonders of kitschy entertainment and terrible food. “Casa Bonita Mi Amor” is a documentary capturing the event of reviving the pink-painted wonderland, with director Arthur Bradford (“6 Days to Air: The Making of South Park”) following the traumatic experience as Stone and Parker retain hope to revitalize a place of magic, only to be confronted with a complete overhaul of a decrepit building. It’s a riveting, hilarious journey. Read the rest at Blu-ray.com

Parental responsibility is taken to the extreme in “I’ll Be Right There,” and yet the feature remains utterly real in its depiction of family obligations and their sometimes suffocating ways. Writer Jim Beggarly does an exceptional job delivering dimensional characters with relatable issues, also maintaining the realness of it all while creating a few comedic highlights. It’s a wonderfully written film, and director Brendan Walsh (“Centigrade”) delivers assured work, achieving a steady rhythm of conflict while allowing the cast to take their moments and feel around the jagged emotions in play. “I’ll Be Right There” remains small in scale, preferring to deal with deep emotions, but the picture is gracefully executed, and it’s a pleasure to watch star Edie Falco work through the stages of frustration her character experiences during the endeavor, giving one of her finest performances. Read the rest at Blu-ray.com

“The Thicket” is a violent western created by celebrated author Joe R. Lansdale, the writer behind “Hap and Leonard” and “Bubba Ho-Tep.” It’s a rough study of survival from the author, with adaptation duties handled by screenwriter Chris Kelley and director Elliot Lester (“Aftermath,” “Blitz”), who are challenged to make something semi-approachable with a story that’s primarily about agony in many forms. It’s certainly not a friendly picture, but the rough edges of the source material are largely preserved in the feature, which tries to maintain a psychological portrait of bruised people while still participating in western traditions. “The Thicket” isn’t always successful with its storytelling, but it does create an immersive understanding of the era and its gun-toting participants, while a few casting treats certainly help the cause. Read the rest at Blu-ray.com

Artificial intelligence is a scorchingly hot topic right now, giving “Afraid” (unfortunately stylized as “AfrAId”) an opportunity to delve into the dangers of a life controlled by a computer entity, and one that’s been training to seem perfectly human to the world around it. Writer/director Chris Weitz (“About a Boy,” “The Golden Compass,” and “The Twilight Saga: New Moon”) has a chance to craft something provocative and relevant (even if the film was shot two years ago) with the material, but this is a Blumhouse production, and they aren’t big on making statements. They want horror, and that’s something that doesn’t fit in “Afraid,” with Weitz fumbling spooky atmosphere and cheap jump scares, suffocating the few critical ideas on AI influence the writing manages to land. There’s the reality of the topic and the haunted house interests of the picture, and viewers are quickly left with a real dud. Read the rest at Blu-ray.com

“1992” is most notable as the final screen appearance for actor Ray Liotta, who passed away in 2022, which gives some indication how long the film has been on the shelf, waiting for release. The passing of the actor is perhaps the only memorable element of the endeavor, with screenwriters Sascha Penn and Ariel Vromen (who also directs) visibly laboring to make a decent idea for a crime picture into something more in step with social ills, especially during the time of the 1992 Los Angeles Riots. The feature commences with a few promising characterizations and moments of criminal thinking, but the material simply gives up in the final act, unable to really go deep with its Spike Lee-ish take on the boiling tensions of the big city, while action concepts mostly fall flat due to a limited budget and uninspired casting, including Liotta, who’s here doing his usual rabid bad guy business. Read the rest at Blu-ray.com

Sean McNamara is a film director who likes to work. He’s not one to pay close attention to quality, content to churn out movies with limited budgets, with sustained employment his career goal, not the shaping of artistic statements. McNamara tries his luck with Americana in “Reagan,” though this picture has some gray at the temples, as it was shot four years ago, newly revived to take advantage of political fever brewing during this election season. Screenwriter Howard Klausner (“Space Cowboys”) has it all here, looking to reach a specific audience with his take on the spirit of the U.S.A. as it carries one man from Hollywood to the White House, becoming a leader with help from his indefatigable love of his country and the power of acting. Perhaps there’s something to be found in a true study of ambition and power, but “Reagan” isn’t that feature. It’s a bio-pic of Ronald Reagan from the director of “Baby Geniuses and the Mystery of the Crown Jewels,” “Cats & Dogs 3: Paws Unite,” and “Bratz.” Read the rest at Blu-ray.com

While writer/director Paul Schrader has collected the admiration of cineastes and movie journalists over the years, he's certainly not a consistent filmmaker. While interested in making intelligent pictures about difficult subjects, Schrader doesn't always show a command of storytelling and performance. 1997's "Touch" is a notable example of the helmer's unsteadiness when it comes to selling a tale of challenging tones, with Schrader trying his luck adapting a 1987 Elmore Leonard novel during a time in Hollywood when such a creative undertaking was all the rage ("Get Shorty," "Jackie Brown," "Out of Sight"). "Touch" is tricky, exploring the ways of love, religious zealotry, and exploitation, and Schrader can't manage the juggling act required to keep the feature interesting, fumbling the interests of multiple characters. There are a few provocative elements to the endeavor, but it's mostly clumsy and a bit of a chore to finish, with Schrader often unsure what he wants the effort to be. Read the rest at Blu-ray.com

An Italian production, 1960's "The Playgirls and the Vampire" presents itself as a horror movie, but there's a more exploitative edge to the feature as it develops. The production is quite aware it isn't out to make art, more attentive to female characters in eveningwear, often exploring the halls and rooms of a spooky castle. There's a vampiric angle to the endeavor as well, but director Piero Regnoli doesn't pay too close attention to the fright factor of "The Playgirls and the Vampire," keeping up mild sexploitation touches and strange relationships in this passably engaging B-movie. Read the rest at Blu-ray.com

1979's "Daisy May" isn't a force of dramatic urgency. Actually, it's barely a movie, with director Fred J. Lincoln and writer Daniel Webster creating only a vaguely defined problem for the main characters to solve. The feature is more of an extended showcase for adult cinema highlights, with the cast put to work in various scenes of seduction, which take up most of the run time. There's something of a tale in the mix, and one about the crazy power of a special juice and its influence over rural characters, but offering a study of beverage authority isn't the goal here. Read the rest at Blu-ray.com

For 181 episodes of television, actor Gary Coleman managed to charm viewers with his cherubic appearance and comfort with comedy. He was one of the stars of “Diff’rent Strokes,” initially cast for his ease in front of a camera, only to develop into a pop culture icon, complete with a catchphrase (“What’choo talkin’ about, Willis?”) and seemingly endless energy to capitalize on such rare success. But there was a very real side to Coleman’s life, especially after his time on the sitcom, and director Robin Dashwood makes a little effort to explore his experience in “Gary,” a documentary that examines some of his highs and most of his lows. A sensationalistic tone permeates the film, as Dashwood can’t resist the ugly side of Coleman’s days. However, there’s an opportunity to understand the late subject’s perspective in life, comprehending decisions that became tabloid fodder, while his pain is made crystal clear. Read the rest at Blu-ray.com

“You Gotta Believe” is based on the true story of Bobby Ratliff, a Little League coach of a struggling team who was diagnosed with cancer, forcing him to balance medical demands with his desire to watch his players make their way to the Little League World Series. Screenwriter Lane Garrison has all the basics in underdog cinema to work with, and he’s done this before, scripting 2021’s “12 Mighty Orphans,” which also dealt with an unsteady Texas team of young people trying to find their way to glory. Surprises are limited in “You Gotta Believe,” but director Ty Roberts (who also helmed “12 Mighty Orphans”) at least makes an effort to energize the viewing experience with baseball action and adolescent shenanigans. The picture captures youthful activity capably, and there’s an inspiring tale of teamwork in the middle of it all, giving the endeavor some emotional power as it follows a storytelling playbook. Read the rest at Blu-ray.com

1978's "A Formal Faucett" is a very odd movie. Director Fred J. Lincoln is out to capture Farrah Fawcett mania with the picture, cooking up his own take on the actress's fame, including her association with the hit show, "Charlie's Angels." And yet, there's really nothing going on in the effort, which initially suggests a broader approach to comedy, only to supply extraordinarily little story, and star Dorothy LeMay doesn't even look like Fawcett. As humor in adult filmmaking goes, "A Formal Faucett" could use a lot more wackiness, with Lincoln lightly pawing the potential of the feature. Lincoln can't even get carnal activity going in a major way, leaving the viewing experience more about watching the production turn to lengthy stretches of padding to fill an already short (67 minutes) endeavor. Read the rest at Blu-ray.com

In one of those weird trends that developed marketplace power during the 1970s and '80s, revenge stories involving sexual assault became a thing for producers looking to make a quick buck by focusing on female suffering. It's an uncomfortable subgenre, with debatable empowerment claims, inspiring more than a few duds, but cash collected by movies such as "I Spit on Your Grave" and "Ms. 45" kept the pictures coming, including 1983's "Deep in the Heart" (a.k.a. "Handgun," which is the title on the Blu-ray presentation). Instead of going ugly with the endeavor, writer/director Tony Garnett approaches the horrors of violence from a different angle, and he's not exclusively interested in tormenting his lead character as she's emotionally and physically destroyed by a cruel male companion. "Deep in the Heart" has an appreciation of pain, but it's also interested in Texas culture as it deals with gun ownership, fragile masculinity, and the mental illness. It's fascinating feature for the most part, with Garnett genuinely doing something different with the material, creating a chilling snapshot of male insecurity and manipulation that remains frighteningly relevant today. Read the rest at Blu-ray.com

Trends in horror are a common occurrence, and they often result in some weird takes on the source material. 1993's "Herencia Diabolica" aims to cash-in on the "Child's Play" craze (the film is also known as "The Mexican Chucky"), bringing the nightmare of a killer doll to life once again, only without much in the way of a budget or screenwriting. It's a cheap endeavor from co-writer/director Alfredo Salazar, who doesn't have the time and patience to establish a functional genre exercise. He's more focused on filling the run time, delivering a heavily padded offering of tiny terror with "Herencia Diabolica," which is dull and generally uninterested in craziness for almost an hour, and when the effort finally gets around to macabre happenings, there's still a concerning lack of insanity to make the picture memorable beyond its severe creative shortcomings. Read the rest at Blu-ray.com

Insane Clown Posse. For outsiders, there are only a few things known about the rap group. They wear clown makeup everywhere they go, there's some type of obsession with a Detroit soda brand Faygo, and they have no idea how magnets work. 2021's "The United States of Insanity" isn't out to provide an extensive understanding of Insane Clown Posse and their inner workings, with directors Tom Putnam and Brenna Sanchez focusing on their legal entanglements. The documentary follows their fight to pull the fan nickname "Juggalo" off the FBI's list of dangerous gangs, with members Violent J and Shaggy 2 Dope going apoplectic as they confront a serious challenge to their first amendment rights. "The United States of Insanity" explores the Juggalo way, identifying the very real people hurt by this designation, with many simply out to enjoy the horrorcore hip-hop group and the loyal community that's been created to celebrate all things Insane Clown Posse.

Sadly, the magnet question remains unanswered in the picture. Read the rest at Blu-ray.com

1999's "A Man Called Hero" is an adaptation of a comic book series, exploring the dramatic highs and lows of a kindly warrior and his battles with tragedy and magically powered enemies. It's wuxia entertainment from Hong Kong, offering an ambitious mix of martial arts action and soap opera- style dramatic entanglements. The idea here is to excite audiences and also bring them to tears at times with its story of longing and loss, but the execution is a little lethargic from director Andrew Lau, who puts on a big show with the production's epic intent, but can't spark the picture's sensitivities to life in a more meaningful manner. Read the rest at Blu-ray.com