A 1980 novel by Philip Nicholson, "Man on Fire" has inspired three cinematic adaptations, the most financially successful being a 2004 Tony Scott film starring Denzel Washington. However, it's the first attempt that's perhaps the most interesting, with 1987's "Man on Fire" attempting to turn a heartwarming tale of an unlikely friendship into the action event of the year. Director Elie Chouraqui doesn't possess the same visual ambition as Scott, keeping matters relatively straightforward for this endeavor, which strives to be more about characterization than orgasmic explosions of violence. Scott Glenn takes on the titular role, and while he's a credible avenging force, he's trapped in a picture that doesn't always know what it wants to be, trying to keep up with the helmer's often hazy concept of suspense. "Man on Fire" is the most tasteful of the adaptations, and it's certainly eventful. It's the overall thrust of urgency that's lacking from the feature, which spends more time with setup than it does with payoff, forcing viewers to retain the utmost patience with the production as it struggles to prioritize escalation. Read the rest at Blu-ray.com

Martin Scorsese is a globally renowned director with a diverse filmography, but he’s always had a soft spot for the challenges of faith. Some explorations have been subtle, while others, including 1997’s “Kundun,” are more outward in their heavenly search. “Silence” is an adaptation of a 1966 novel by Shusaku Endo, but it plays like a follow-up to Scorsese’s 1988 masterpiece, “The Last Temptation of Christ.” Again asking questions of belief and showcasing nightmarish physical endurance, the helmer strives to understand the power of religion, especially when it meets a determined opponent. “Silence” is easily Scorsese’s most grueling picture, using a nearly three-hour run time to explore absolute suffering and a gradual swelling of confusion. It’s accomplished work, as to be expected, but it’s also a moviegoing test of patience only reserved for Scorsese’s most devout fans. Read the rest at Blu-ray.com

What “Hidden Figures” offers is a depiction of empowerment, showcasing the perseverance of three women who were constantly rejected by a government system that barely tolerated their skin color and gender. It’s not a groundbreaking movie, but it provides an examination of prejudice without slipping into hysterics, which is a rare event. Directed by Theodore Melfi (“St. Vincent”), “Hidden Figures” is a perfectly serviceable tale of individuals challenging oppression, hitting all the expected audience-baiting moments of hate and victory. However, underneath convention is an inspection of tremendous intelligence finding its place in the world, with the production valuing education and problem solving, which doesn’t come across the screen nearly enough. Read the rest at Blu-ray.com

The “Underworld” franchise has never provided consistent entertainment, but the last installment, 2012’s “Underworld: Awakening,” was genuinely fun. It turned the somber war between Lycans and Vampires into a proper monster movie, adding big action to break up the ongoing streak of exposition required to keep this horror mythology afloat. The party’s over in “Underworld: Blood Wars,” which returns to steely stares and breathless paragraphs of explanation, finding the core battle between sworn enemies almost an afterthought as the production uses this chapter to refresh possibilities for future sequels, working to keep star Kate Beckinsale interested with new character dimensions. Action is replaced with world-building, keeping the fourth sequel to the 2003 original more about course-correction than promised combat. Read the rest at Blu-ray.com

Pierce Brosnan, angels with bad agents, Marshall law, third purge’s the charm, Pierce Brosnan (again), French feline, trapped in a closet, purging for laughs, shades of Wayans, and De Niro makes a yacht payment.   

These are the Worst Films of 2016.

Faith during World War II, teen angst in a bad jacket, chess in Africa, Texas justice, backstage horror, family ties, east coast grief, the life unlived, a manhunt in Boston, and the comfort of a green dragon.

These are the Best Films of 2016.

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While we know Fred Olen Ray today as a multifaceted filmmaker capable of grinding out movies with alarming speed, he was once a hungry young director on the rise, trying to break into the industry with his vision for low-budget entertainment. 1983's "Scalps" made an impression, but 1985's "Biohazard" started to get the ball rolling for the helmer, who musters up all his creative energy to complete an "Alien" clone where the beast from a distant galaxy is played by a five-year-old boy (Chris Olen Ray, Fred's son). Expectations aren't welcome here, as Ray barrels through this scrappy production, trying to keep faint star power and visual distractions active enough to cover for the endeavor's distinct lack of polish. Read the rest at Blu-ray.com

Mike Hammer was big business in the 1980s. A creation from author Mickey Spillane, introduced in 1947, Hammer is a quintessential pulp private detective, imagined as a brute with a brain and his share of vices. He's hard on crime and harder around women, but focused on justice, with Spillane coming up with plenty of literary adventures for producers to use. And they did, hiring Kevin Dobson and, most famously, Stacy Keach to portray the character in television efforts, finding a home for the era-specific mood. However, 1982's "I, the Jury" elected to modernize Hammer for a new audience, attempting to merge dated aspects of masculinity with an action endeavor, basically laboring to make a Hal Needham film with Spillane grit. "I, the Jury" tries to play it cool, trusting star Armand Assante to be bold enough to carry the work, but absurdity blankets the picture. Striving to play with the big boys of violent cinema, director Richard T. Heffron (who replaced original helmer and screenwriter Larry Cohen a week into the shoot) makes a television movie that's periodically interrupted with salacious and macabre encounters, keeping Hammer more of a cartoon than an engaging screen antihero. Read the rest at Blu-ray.com