• 4K UHD Review – The Garbage Pail Kids Movie

    Producers moved fast on “The Garbage Pail Kids Movie,” which is based on a sticker trading card line from Topps that was known for its extreme grossness, stirring up the interests of concerned parents and school administrators as the line grew in popularity. The cards debuted in 1985, and a feature film was pushed through production for the summer of 1987, working to cash in on a kid trend that burned pretty brightly during its peak, but whatever made the line so appealing to the target audience definitely didn’t translate to the big screen. Co-writer/director Rod Amateau has the considerable challenge of creating a story for a franchise built on vivid visuals, coming up with a picture that can’t escape its extremely limited budget. “The Garbage Pail Kids Movie” is a pretty rough sit, with Amateau winging it for most of the run time, hoping to find success with strangeness that’s never inspired. Read the rest at Blu-ray.com

  • 4K UHD Review – Troll 2

    It bears repeating: there are no trolls in “Troll 2.” The 1990 feature was originally shot under the title “Goblins” before the wild ways of film distribution ended up branding the movie as a sequel to 1986’s “Troll” without having a connection to it. Writer/director Claudio Fragasso doesn’t have any control over the name of the picture, but he’s in charge of making something at least passably competent with the endeavor, and he fails spectacularly. “Troll 2” is often found on lists of the worst movies of all time, and it certainly earns such branding if one comes to the offering expecting a consistent, capably made horror film about vegetarian goblins looking to devour visitors to a small Utah town called Nilbog. Fragasso wipes out spectacularly with sincerity, throwing together a poorly executed and frightfully performed display of utter nonsense that’s filled with padding and scripted without thought. However, as a Bad Movie Night selection, “Troll 2” has more appeal, triggering plenty of unintentional laughs as the effort fumbles around pursuing bizarre ideas, armed with clunky low-budget craftsmanship. It could be fun for some viewers, and cinematic punishment for others. Read the rest at Blu-ray.com

  • 4K UHD Review – At Close Range

    1986’s “At Close Range” is “based on a true story,” dramatizing the brutal ways and family ties surrounding gang leader Bruce Johnston Sr., who embarked on a reign of terror around rural Pennsylvania in the 1960s and ’70s. Screenwriter Nicholas Kazan (son of director Elia Kazan) looks to turn such headline news into a more intimate drama about a father and son experiencing the development of a toxic relationship while working to figure each other out. It’s the stuff of high drama, but director James Foley (coming off 1984’s “Reckless”) doesn’t pursue the melodramatic potential of the piece. Instead, the helmer generates an intensely moody understanding of bonds and games of intimidation in the endeavor, moving forward with a semi-spare study of reactions and threats. The feature carries a level of intensity as it explores a dark reunion between Brad Jr. (Sean Penn), a wayward teen who’s not interested in a future, and Brad Sr. (Christopher Walken), the leader of a criminal gang looking for opportunities in a rural location, confronted by responsibilities he has no interest in. “At Close Range” is a troubling picture, as Kazan offers a cold-blooded examination of Brad Sr.’s lethal seductions and overall viciousness, finding strong tension in scenes of direct conflict. Foley isn’t always interested in creating the most propulsive effort here, with pacing an issue as the story gradually unfolds, but he’s committed to a more interior life for the characters, searching for ways to generate emotional moments handled by gifted actors, creating some sensational moments of pressure along the way. Read the rest at Blu-ray.com

  • Blu-ray Review – Shelby Oaks

    Horror can be a tough business, and it’s even harder when there’s limited imagination for frights in charge of the picture. Making his filmmaking debut is YouTuber Chris Stuckmann, who hopes to deliver a thoroughly terrifying feature in “Shelby Oaks,” though he doesn’t have much to work with in what’s truly a very dull endeavor. Lifting from movies such as “The Blair Witch Project” and “Rosemary’s Baby,” Stuckmann doesn’t have drive to really launch into disturbing behavior. Instead, he’s positioned himself somewhere between a found-footage endeavor and a chiller, never quite settling on a single approach to make sense of his main idea. “Shelby Oaks” aims to be creepy, but it’s painfully generic and poorly paced, resembling most other low-budget genre efforts in the marketplace with its strange appreciation of suspense and uneventful plotting. Read the rest at Blu-ray.com

  • Film Review – Ladies First

    Netflix is remaking Netflix. In 2018, the streamer released “I Am Not an Easy Man,” a French production that detailed the experience of a male chauvinist who’s smacked in the head, waking up to a new world ruled by women, forcing him to negotiate a different reality that doesn’t sit well with him. In 2026, screenwriters Natalie Krinsky, Cinco Paul, and Katie Silberman look to bring the premise back for “Ladies First,” transforming a study of enlightenment into a Sacha Baron Cohen comedy. It’s not exactly an upgrade, placing the usually wily actor into a conventional picture that mines humor from the switcheroo scenario, which delivers about two minutes of satire. The rest of the feature is fairly soft and feeble, with director Thea Sharrock (“The One and Only Ivan,” “Me Before You”) unwilling to get sharper with the endeavor. Netflix didn’t provide “Ladies First” for review, and one can clearly see why after sitting through the opening act. Read the rest at Blu-ray.com

  • Film Review – Passenger (2026)

    Van living is the setting for “Passenger,” which is a generic title for what becomes a generic film. Screenwriters Zachary Donohue and T.W. Burgess are endeavoring to create a ghost story of some shape with the feature, and they want to establish the horror of a new movie maniac in the Passenger, who haunts the roads, becoming more of a curse as his malevolence is passed from driver to driver. Director Andre Ovredal has a history of genre employment (including “Scary Stories to Tell in the Dark” and his last effort, 2023’s “The Last Voyage of the Demeter”), but his veteran status doesn’t come into play in “Passenger.” Instead of sneaky, sinister work, there’s the usual in jump scares and labored characterization, keeping the offering underwhelming when it isn’t hellbent on trying to jolt viewers into submission. Read the rest at Blu-ray.com

  • Film Review – The Mandalorian and Grogu

    “The Mandalorian” became a major hit for the Disney+ streaming service after it debuted in 2019, commencing a move from the corporation to redirect “Star Wars” to the small screen, creating shows that explored the George Lucas-created galaxy. Now the studio wants to bring the saga back to theaters (seven years after the theatrical release of “The Rise of Skywalker”), and they’re using two of their most popular characters to do it, putting co-writer/director Jon Favreau to work on “The Mandalorian and Grogu,” which looks to supersize the original show, delivering big action and character interactions to do it. This is action figure “Star Wars,” not fascism and pain “Star Wars,” and while there’s not a mammoth story to back up the refreshed scale of the production, “The Mandalorian and Grogu” is immense fun and consistently playful, with Favreau embracing momentum and mayhem as he delivers a fresh round of adventuring for the bounty hunter and his Jedi charge. Read the rest at Blu-ray.com

  • Film Review – Stolen Kingdom

    “Stolen Kingdom” is a documentary about the Disney black market. For those not paying close attention to the ways of theme park fandom, there are people out there who openly steal items from all the Disney parks, with many accessing “backstage” areas of the attractions to locate treasures for the taking. And there are buyers willing to pay top dollar for such finds, helping to add to personal collections. Director Joshua Bailey attempts to explain the whole subculture in the picture, putting focus on the character of Buzzy from the attraction “Cranium Command,” which was once open at Epcot in the Wonders of Life pavilion. The show closed in 2007, but Buzzy remained in place. That is, until one day some items of clothing were reported missing, and soon enough, the whole animatronic was gone. It’s a mystery ripe for examination, and Bailey gets most of the way there in “Stolen Kingdom,” examining the personalities and behavioral issues involved with those determined to access forbidden areas of Disney’s empire. Read the rest at Blu-ray.com

  • Film Review – Saccharine

    Natalie Erika James made a strong impression with her debut film, 2020’s “Relic,” skillfully merging horror happenings with a meaningful tale of health woes and family issues. She followed it up with a nearly impossible directorial mission, tasked with revisiting the world of “Rosemary’s Baby” in 2024’s “Apartment 7A.” Against all odds, James made an interesting movie, continuing her exploration of female-centric stories and genre intensity. She returns to her dramatic interests in “Saccharine,” this time merging a most unusual haunting with an examination of eating disorders and self-worth. Once again, the helmer delivers an atmospheric and periodically chilling understanding of pressure put on the main character as she confronts psychological and physical issues while trapped in a worsening situation. “Saccharine” is body horror with a potent message, and James continues on her path as one of the more talented filmmakers working today. Read the rest at Blu-ray.com

  • Film Review – I Love Boosters

    In 2018, musician Boots Riley made his filmmaking debut with “Sorry to Bother You.” It was a wild comedy flowing with artistic impulses and general craziness, helping to secure Riley as a director to watch. He’s finally back on screens with “I Love Boosters,” which is inspired by a 2006 song from Riley’s hip-hop group, The Coup, developing the central concept of fashion thieves confronting a top designer, on the hunt to lift her most expensive collection yet. It’s another wet slice of wackiness from Riley, who’s been handed a bigger budget to feel out his visual and thespian mischief, getting a little more epic with his vision. “I Love Boosters” is a lot, and not always in a fulfilling manner, but Riley is playful with the endeavor, keeping up with his interests in social commentary and extravagant imagery as he tries to surprise once again. Read the rest at Blu-ray.com

  • Film Review – Corporate Retreat

    “Corporate Retreat” is a comedy. Maybe? Or it could be a horror film. Co-writer/director Aaron Fisher is out to master many tones for this endeavor, attempting to enjoy the possibilities of dark comedy with a premise that invites a lot of ghoulish situations. The offering hopes to be a wicked good time for all, but Fisher isn’t all that refined a filmmaker, barely handling the basics in twists and turns for the feature, and his command over performances is severely lacking. Co-star Alan Ruck is the only capable actor in the ensemble effort, and I can’t imagine how intolerable “Corporate Retreat” would be without his commitment and skill with oddball material. He’s the only offering of hope in the mostly hopeless picture. Read the rest at Blu-ray.com

  • Film Review – Reckless (2026)

    Since 2019, there has been no shortage of Guy Ritchie movies. The man has been on a directing tear, putting projects into motion or taking paying gigs wherever he can find them. Heck, just last week saw the release of a new Richie offering (“In the Grey”) that almost nobody paid to see. And here comes “Reckless,” which is written by Matthew Robert Kelly and Stu Small, and it strives to retain that Ritchie screen energy when it comes to British crime films and their wacky characters. Director Elliott Montello doesn’t seem to mind the comparison, leaning into the sameness of the story, which follows an ex-con trying to reclaim stolen money from his old underworld partners, and they’re not in a cooperative mood. “Reckless” isn’t original work, but there’s a little spark with performances, putting Scott Adkins into action as a man in panic mode finding problems everywhere he turns. Such enthusiasm is enough to make the endeavor enjoyable, but it’s never remarkable. Read the rest at Blu-ray.com

  • Film Review – Giant

    “Giant” is executive produced by Slyvester Stallone, because if there’s a boxing movie to be made, the man once known as Rocky Balboa must have something to do with it. However, this isn’t a “Rocky” sequel, but a British bio-pic of champion pugilist Naseen Hamed, focusing on his special relationship with longtime trainer Brenden Ingle. Writer/director Rowan Athale (2019’s “Strange But True”) attempts to make a very flashy picture, taking the lead from Hamed’s own high-flying ego and sporting showmanship, creating a few pockets of screen energy to help ease an otherwise laborious viewing experience. “Giant” doesn’t offer anything fresh to boxing cinema, and Hamed’s own story of triumph isn’t exactly compelling, leaving Athale to conjure drama with otherwise uninteresting people and their war of stubbornness. Read the rest at Blu-ray.com

  • Blu-ray Review – Blue City

    1985 was a big year for Judd Nelson and Ally Sheedy. The pair enjoyed box office success with roles in “The Breakfast Club” and “St. Elmo’s Fire,” also experiencing a massive surge in media interest with their positions in “Brat Pack” stories, highlighting their youthful takeover of the film business. In 1986, career momentum was suddenly halted, with the duo reteaming for “Blue City,” a picture that hoped to ride a wave of overexposure to financial fortunes, only to end up a bomb. And there’s a few good reasons for audience rejection, with the endeavor showing signs of editorial struggle that results in an awkward viewing experience. “Blue City” has its messiness and miscastings, and while director Michelle Manning has a way with the visual presence of the effort, she can’t hold any type of consistent story together, with the final cut jumping from incident to incident without much connective tissue. Read the rest at Blu-ray.com

  • Blu-ray Review – Somnium

    Writer/director Rachael Cain has a lot of ideas for “Somnium,” her helming debut. And she’s determined to try and squeeze them all into a single movie. It’s a story involving the loneliness of an aspiring actress in Los Angeles, her heartbreak involving her ex-boyfriend, the mysteries of producer support in Hollywood, and the strangeness of employment at a sleep center. Cain gives herself 90 minutes to work through quite a lot of ideas and feelings in the picture, but focus is the main element missing from the endeavor. “Somnium” hopes to be a penetrating drama and something vaguely resembling a horror feature, but it never fully settles on one idea. It’s not a mess, just incredibly half-baked, leaving the audience with an assortment of emotions, subplots, and moods that don’t fully connect in the end. Read the rest at Blu-ray.com

  • Blu-ray Review – Bad Things

    A remote hotel in the dead of winter. Troubled characters dealing with the possible melting of their minds. Strange visions around the property. Murder coming for all. There’s clearly a beloved horror film serving as the inspiration for “Bad Things,” with writer/director Stewart Thorndike looking to revive the chilling ways of isolation and psychological disruption with the effort, taking viewers to a strange getaway for a group of friends who have little respect for one another, facing unexpected finality during what’s meant to be a week of partying. Thorndike doesn’t have a budget, but she has a location, doing okay with the emptiness of the hotel setting and all the secrets it contains. However, a little disturbing behavior doesn’t carry “Bad Things,” which only connects in select moments, while the rest of the endeavor plays like a community theater production of “The Shining.” Read the rest at Blu-ray.com

  • Blu-ray Review – Taxi zum Klo

    One could certainly appreciate 1981’s “Taxi zum Klo” as a study of life for a gay man in West Germany, detailing his encounters in the area as he tries to maintain work and play. Writer/director/star Frank Ripploh has something in mind with the endeavor, electing to make a picture about experiences, following the main character as he hunts for carnal events and falls into a relationship while dealing with friends and strangers. However, Ripploh also wants to examine the perils of cohabitation and love, ending up with an easily distracted feature that carries on for too long, especially when it attempts to explore a story that fails to provide much of a dramatic hold. Read the rest at Blu-ray.com

  • Film Review – Is God Is

    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

  • Film Review – In the Grey

    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

  • Film Review – Obsession

    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