Author: BO

Writer/director Jacques Audiard has enjoyed a long career filled with colorful features, including “Rust and Bone,” “A Prophet,” “The Sisters Brothers,” and “The Beat That My Heart Skipped.” He’s an exploratory moviemaker, valuing the art of dramatic complication and character encounters, finding a ripe creative challenge with “Emilia Perez.” It’s a compelling tale of a life experiencing tremendous change, but it also involves a number of characters directly connected to a secret situation. The writing (which adapts a novel by Boris Razon) follows these people as they process major shifts in reality, but Audiard doesn’t create a simple drama, turning to the power of a musical to help the personalities express themselves in highly cinematic ways. “Emilia Perez” hits a few bad notes as it unfolds, but it’s memorable work from the helmer, who delivers a passionate understanding of need, using the pressures of heartache and the lift of fantasy to detail such an odyssey. Read the rest at Blu-ray.com

Two years ago, actor Jesse Eisenberg made an impressive debut as a writer/director with “When You Finish Saving the World.” It was a character-based journey through waves of neuroses, retaining the creative fingerprints of a performer who mostly takes roles involving unsettled people. He’s back in “A Real Pain,” which is also a study of raw feelings and social pleasantries, only here there’s a bit more intimacy when it comes to relationships and communication. It’s something of a cinematic odyssey, following two cousins getting in touch with their past while confronting certain uncomfortable realities about their relationship, and Eisenberg doesn’t stray far from the irritations that fascinate him as a helmer. “A Real Pain” has pieces of humor, but it’s primarily a study of two relatives learning to understand each other once again, hitting some vivid moments of behavior and reflection along the way. Read the rest at Blu-ray.com

Just in time for the holiday season comes a story about a sexy snowman. I’m sure few productions have dared to explore such a situation, giving screenwriter Russell Hainline (“The Santa Summit,” “In Merry Measure”) some room to discover the weirdness of “Hot Frosty.” A kind of magic is meant to drive most of the endeavor, which, indeed, follows the newborn-like eponymous character as he emerges from a sculpture and tries to understand the human world around him. This isn’t a family film, and it doesn’t involve puppetry (like 1998’s “Jack Frost”). It's a romantic comedy made for a select audience that wants something palatable and gentle for Christmas viewing, and director Jerry Ciccoritti (“Angel Falls Christmas,” “Holidaze”) tries to deliver just that. “Hot Frosty” is pure Hallmark Channel-like vanilla, and as these things go, it’s not too rough, benefitting greatly from star Dustin Mulligan’s desire to add as much energy to the picture as possible, lifting the effort up with his enthusiasm. Read the rest at Blu-ray.com

It’s been reported that a sequel or a prequel to 2000’s “Gladiator” has been in some form of development since 2001. And why wouldn’t the producers want to try their luck again? The film was not only a major success at the box office, but the summer release managed to claim five Academy Awards, including Best Actor (Russell Crowe) and Best Picture. It was an actioner that went the distance, but it also was a story about finality, making any continuation difficult to launch. 24 years later, there’s “Gladiator II,” as director Ridley Scott returns to duty to oversee this examination of Roman rule, with the tale picking up 16 years after the original feature. It’s a sequel, but it doesn’t behave as one, as screenwriter David Scarpa (“Napoleon,” “All the Money in the World”) basically concocts a remake here, following a plot of revenge for the main character, who tracks his grief as it turns into ice, tasked with surviving colosseum horrors. And perhaps this will be enough for certain viewers, but the staleness of “Gladiator II” is difficult to ignore. Read the rest at Blu-ray.com

“Flow” is an unusual adventure story from co-writer/director Gints Zilbaodis. There is no dialogue in the picture, which doesn’t include any human characters, sticking close to a cat instead, tracking experiences as the animal joins others on a hunt for higher ground during a catastrophic flood. It’s an animated endeavor, and Zilbaodis remains artful and intense with the feature, using a pure cinematic language to communicate an amazing journey for the feline and its partners. Land is crossed, mountains are climbed, and waters are navigated, giving viewers an active tale of survival that takes interesting turns during the run time. “Flow” is simple in some ways, remaining observational, but it maintains impressive artistry and commitment to the characters, who clearly express themselves as they experience a life-changing challenge of endurance during strange days of catastrophe. Read the rest at Blu-ray.com

For his second release of 2024, writer/director Quentin Dupieux continues his pursuit of screen mischief. He toyed in the world of art and ego in “Daaaaaali!” and develops these themes in “The Second Act,” which dissects the acting process and problems with professionalism. It’s a shot of selfishness and mockery from Dupieux, who assumes a substantial technical challenge in the use of lengthy tracking shots, and tries to break down the filmmaking process in his own impish ways. It takes some time to really understand what’s happening in the movie, perhaps too much time, but when focus is finally revealed, there are a lot of laughs to be had in the endeavor, which enjoys poking fun at thespian sensitivities. Dupieux remains his usual self in the effort, going sneaky, silly, and dark with the picture, and for those who possess the patience, there’s an enjoyably weird viewing experience to be had. Read the rest at Blu-ray.com

Jake Kasdan isn’t the most inspired filmmaker working today, but he’s had his moments, especially with early career endeavors such as “Zero Effect,” “The T.V. Set,” and “Walk Hard: The Dewey Cox Story.” Over the last 15 years, he’s lost his way, making D.O.A. comedies (“Bad Teacher,” “Sex Tape”) and glossy, hostile visual effects-driven adventures in two “Jumanji” sequels. The helmer goes deep into CGI excess and weak humor in “Red One,” which intends to be a large-scale presentation of holiday fun, merging violence and Christmastime tenderness. Kasdan and screenwriter Chris Morgan (“Hobbs & Shaw,” “Shazam! Fury of the Gods”) don’t seem to understand what kind of picture they’re making here, as all sentiment rings hollow and cinematic extravaganza looks more like a video game. “Red One” is deadening to watch, as so much technical and thespian effort has gone into a feature that carries no sense of spirit. Read the rest at Blu-ray.com

He was incredibly mean to a pure-hearted bear in “Paddington 2,” tried to take command of a fantasy kingdom in “Dungeons & Dragons: Honor Among Thieves,” and portrayed a surly Oompa Loompa in “Wonka.” And now actor Hugh Grant gets downright evil in “Heretic,” the latest addition to his villainous career turn over the last decade. The star remains in top form for this chiller, inhabiting a slippery sense of superiority as a seemingly mild-mannered man looking to teach two Mormon missionaries a profound lesson on the history and reality of religion. Filmmaking team Scott Beck and Bryan Woods (“Haunt,” “65”) go small-scale with “Heretic,” supplying more of a puzzle than a horror endeavor, and one that invests heavily in speeches to fill the run time. It’s not a suspenseful effort, but acting helps the cause immensely, finding Grant and co-stars Sophie Thatcher and Chloe East contributing excellent performances to keep some level of tension in play as the writing forgoes a stronger offering of terror. Read the rest at Blu-ray.com

Leave it to the animated comedy duo Wallace and Gromit to provide one of the clearest understandings of our futureworld of A.I. assistance. The man and dog go full tech with “Wallace & Gromit: Vengeance Most Fowl,” which is actually a sequel to the 1993 short, “The Wrong Trousers,” resurrecting an old enemy to inspire the second feature-length endeavor featuring the duo, who were last seen on screens in 2005’s delightful “Curse of the Were-Rabbit.” Director Nick Park and his Aardman Animation crew return to duty for another romp in stop-motion goodness, and the material remains in step with franchise expectations. “Vengeance Most Fowl” is a delightful comedy from a company that specializes in such efforts, as Park oversees a snappily paced adventure that includes plenty of goofiness and inspired physical comedy. And, indeed, a little commentary on the state of the world helps to shape an unexpectedly thought-provoking romp. Read the rest at Blu-ray.com

Co-writer/director Tyler Thomas Taormina made an impression on indie film audiences with 2019’s “Ham on Rye.” The helmer invested in atmosphere, not storytelling, examining the behaviors and social interactions of teenagers as they prepare for a party. Taormina wasn’t interested in plot, just the vibe, and he returns to the same idea for “Christmas Eve in Miller’s Point,” which takes the “Ham on Rye” concept and transfers it to the holiday season. There’s a family gathering to inspect in the feature, bringing all types of personalities together for a celebratory evening where relationships are revisited and experiences are pursued. “Christmas Eve in Miller’s Point” sustains Taormina’s filmmaking interests in shapelessness, but he’s remarkably observant when it comes to the creation of a reunion event with holiday flair. The picture is practically 3D in the way it captures household bustle and indulgence, creating some superbly vivid moments. Read the rest at Blu-ray.com

Screenwriters John Glenn, Jacob Roman, and Kenny Ryan create an unusual alien invasion story for “Elevation.” Creatures emerge from the depths of the Earth and clear out 95% of the world’s population, and it’s impossible to kill them due to impenetrable scales and swift movements. The only thing they can’t do is move above 8,000 feet, pushing survivors into the mountains, creating a new way of life. There’s a decent hook with “Elevation,” which supplies a few different locations when depicting creature rampages, allowing director George Nolfi (“The Banker,” “The Adjustment Bureau”) to stage some passably intense screen action. The rest of the feature is less confident, stumbling through clumsy dialogue exchanges and dealing with a grand franchise plan that requires the first film in the series to grab viewer imagination. And that doesn’t happen so easily in the endeavor. Read the rest at Blu-ray.com

Richard Curtis is known for his work in Christmas-themed entertainment, previously writing and directing 2003’s “Love Actually,” which explored more adult concerns when it came to seasonal blues. He’s back in the yuletide spirit with “That Christmas,” co-scripting (with Peter Souter) an adaptation of three of his children’s books, exploring the ways of rambunctious kids separated from their parents on December 25th. It’s an animated offering of youthful shenanigans and Santa-minded adventuring, with director Simon Otto (a former animator who contributed to the “How to Train Your Dragon” series) simply out to make something a little silly and kind for viewers. “That Christmas” doesn’t exactly know when to quit, but it retains plenty of charm, also offering a flavorful voice cast and enjoyable animation to add a fresh display of seasonal entertainment for those in need of it. Read the rest at Blu-ray.com

Perhaps it’s not as significant in the world of competing movies as “A Bug’s Life” and “Antz,” or possibly “White House Down” and “Olympus Has Fallen” (maybe “Finding Nemo” and “Shark Tale” is a better example?), but “The Last Rifleman” shares the same story as 2023’s “The Great Escaper.” In that picture, Michael Caine portrayed an elderly World War II veteran sneaking out of senior home captivity to participate in a ceremony recognizing the 70th anniversary of D-Day. The new(ish) film puts Pierce Brosnan in the role, handling old age makeup and general physical stiffness to portray the determined man, who’s bringing plenty of emotional baggage with him on the journey. The tales aren’t completely identical, but there’s enough similarity to inspect, yet “The Last Rifleman” is the bluer endeavor, offering less time with travel experiences and more moments of guilt and pain hitting the main character as he embarks on an ambitious quest to reach France on his own. Read the rest at Blu-ray.com

It’s not exactly the holiday season in “A Sudden Case of Christmas,” which takes place during the month of August, bringing heat and family tourism to the story. There’s not much yuletide spirit in the picture either, as it primarily focuses on relationship woes facing multiple characters managing a trip to the Dolomites region of Italy. And yet, Director Peter Chelsom (who co-scripts with Tinker Lindsay) pushes for a warm atmosphere of celebration and communication in the feature, attempting to find different ways to bring out the Christmas feels. “A Sudden Case of Christmas” isn’t a riveting endeavor, as the material is more sitcom-ish than inspired, but Chelson has star Danny DeVito, who brings a certain level of dramatic emphasis and liveliness to the effort, which benefits greatly from his enthusiasm. And, when all else fails the offering, there’s time spent in a glorious area of the world. Read the rest at Blu-ray.com

Director Steve McQueen hasn’t made a narrative-driven film in many years, not since his stellar work on 2018’s “Widows.” The “12 Years a Slave” and “Shame” helmer released a little-seen documentary last year (“Occupied City”), but he returns to more dramatic interests in “Blitz,” which is a big-budget period piece examining the dangers of life in London during World War II. McQueen (who also scripts) tones down his usual interest in behavioral extremity for the endeavor, remaining tough on his characters, but he also offers a Disney-adjacent study of juvenile fortitude and parental separation, feeling a bit like “The Journey of Natty Gann” with a harder sense of the real world. “Blitz” offers a chilling study of wartime dangers and community misery, with impressive technical credits bringing haunting images to life. The overall arc of endurance isn’t quite as potent, as McQueen isn’t built for emotionality, leaving the feature slightly lacking in the tenderness department. Read the rest at Blu-ray.com

Director Bruce Goodison (“My Murder,” “Murdered by My Father,” “Murder in the Car Park”) and screenwriter Virginia Gilbert (“Home,” “A Long Way from Home”) have an idea for “Black Cab.” It’s just not one especially suited for feature-length examination. What’s here is primarily a concept for a short, tracking the growing panic of a woman who’s been essentially kidnapped by her cab driver, left to suffer as she endures a lengthy ride to the middle of nowhere, facing a villain who’s slow to expose his motives. The filmmakers endeavor to launch a ghost story with the material, but very little paranormal activity is found in the movie. “Black Cab” is more of a screenwriting exercise than a true nail-biter, dealing with lengthy speeches and limited movement, which doesn’t inspire much suspense. Viewers expecting evil from the premise are served a lukewarm chiller instead, and one that runs out of creative gas early. Read the rest at Blu-ray.com