Category: Film Review

“The Gentleman Thief” is the third installment of the “Cash Out” series, though I doubt few are keeping up on the ongoing story of a team of thieves setting out to make various fortunes around America. These productions offer a chance for star John Travolta to make easy money, and they keep director Randall Emmett (credited here as “Randall Ives Emmett”) employed, creating ridiculous, half-speed capers for an undiscerning streaming audience. There’s nothing wrong with a brain-dead distraction, but these pictures are limply executed and atrociously performed, with “The Gentleman Thief” joining the franchise as another weak study of crime and camaraderie, with sun-drenched locations trying to beautify an otherwise forgettable installment of a series nobody asked for. Read the rest at Blu-ray.com

“The Magic Faraway Tree” book series was created by author Enid Blyton in 1939, carrying on for four installments which managed to delight young readers from around the world with its exploration of adventure and imagination. It’s taken some time, but now producers are out to launch Blyton’s creation as a possible film franchise, with “The Magic Faraway Tree” the first installment. Screenwriter Simon Farnaby (“Paddington 2,” “Wonka”) is tasked with establishing a fantasy playground, following young characters as they encounter a special world of possibilities while dealing with the colder realities of their lives. Magic is promised in the title, but not entirely delivered by the picture, which strains extremely hard to provide whimsy, only to end up constipated and a bit confused. Earnestness is present at times, but most of the feature is aggressive and oddly structured, making it difficult to get swept up in its sense of wonder. Read the rest at Blu-ray.com

Screenwriter Anthony Steven Giordano previously worked on “Robo-Dog,” “Robo-Dog: Airborne,” and “Space Pups.” Now he’s looking to get away from canine adventures by trying his luck with shark attack cinema, hoping to add to the subgenre with “Above and Below,” which is more of a crime picture than an oceanic danger one. Director Jesse V. Johnson, a veteran of low-budget entertainment, tries once again to make a small idea for a film seem bigger than it really is, attempting to generate suspense and threat with a story that takes place on a boat floating on the water. There’s not a lot to the tale, which only adds shark-based trouble on occasion, offering more time following tough men endeavoring to clean up a major criminal mess. “Above and Below” is a little different from the usual in this type of feature, but Giordano doesn’t supply much imagination for screen tension, leaving the movie lacking in excitement for far too long. Read the rest at Blu-ray.com

Screenwriter Rachel Hirons (“2nd Date Sex,” “Breaking Point”) isn’t trying to do much with the romantic comedy in “Finding Emily.” She follows the subgenre playbook, creating a tale of an unlikely partnership between two young characters that turns into something more personal along the way. There are best pals, humiliations, unspoken desires, and near-misses, joined by a hip soundtrack and quirky performances. Surprises are minimal in the picture, which hopes to get by on the tingles of attraction and the journey of realization. The writing isn’t remarkable, but director Alicia MacDonald has casting to help her create a few memorable moments along the way, with leads Spike Fearn and Angourie Rice delivering as much charm as possible to help elevate the endeavor, generating passable personalities to help stave off the sameness that dominates “Finding Emily.” Read the rest at Blu-ray.com

Three years ago, the documentary “Wham!” explored the formation and the raging success of the British pop duo as they managed to conquer the world in the mid-1980s. The release offered some unique information concerning the band’s inner workings, shining a light on singer George Michael’s desire to be the biggest act in music. And now there’s “Wham! 10 Days in China,” which provides insight into how such a plan for world domination was implemented as the band neared the peak of its success, scheduling two concerts in the country in 1985, presenting Western showmanship to a communist nation just getting used to the idea of such exposure. A documentary was prepared to capture the event, released in 1986, and director Mike Christie returns to the footage for “10 Days in China,” crafting a fresh understanding of the two-city tour with access to new footage and reflections from the core members of the Wham! team. Read the rest at Blu-ray.com

Kevin Hart makes comedies where his characters are put in wild situations and they generally scream and flail their way out of them. “72 Hours” is the latest addition to his oeuvre, once again playing an overwhelmed man trying to make sense of his worsening situation, but for this round of slapstick and yelling, there’s an age component, as the screenplay (credited to four people) takes on generational divide to help add to the pressure facing the main character. The offering is meant to be a wild ride, but it’s also directed by Tim Story, who’s spent his career making painfully mediocre comedies (including “Ride Along,” “Shaft,” and last year’s “The Pickup”), and his streak continues here. “72 Hours” endeavors to be a raunchy good time with crazy situations of conflict and confusion to work through, but the production isn’t exactly aiming high with the material, which follows the usual in R-rated entertainment, putting Hart out front to help sell a painfully unfunny film. Read the rest at Blu-ray.com

Nicolas Winding Refn once seemed to be on track for a very promising career. An intense visual storyteller, Refn scored a major career success with 2011’s “Drive,” eventually following it up with two atmospheric efforts (2013’s “Only God Forgives” and 2016’s “The Neon Demon”) that couldn’t match the creative and commercial success of his breakthrough endeavor. And then he stopped making movies. Refn moved over to television, making three shows of little renown, and after a decade away from filmmaking, he’s back with “Her Private Hell,” which hopes to return the helmer to the Lynchian ways of his past achievements, only now all the mystery is shapeless and unstimulating. “Her Private Hell” is a glossy offering of style without a moment of drama to hold it together. Refn gets lost in his pursuit of cinematic artistry, delivering a picture that’s a long, painful sit and indulgent to the extreme. Read the rest at Blu-ray.com

We last encountered a production that did away with dialogue in the 2023 John Woo picture, “Silent Night.” The concept is revived for the most part for “Motor City,” which has just a sprinkling of verbal exchanges, preferring to dish out its revenge story in a more visual manner, giving the audience a break from exposition to provide a visceral viewing experience. Director Potsy Ponciroli (“Old Henry,” “Greedy People”) is up to the storytelling challenge, putting in the effort to transform the endeavor into a mean machine, and while language isn’t the focus of the offering, pain certainly is, with screenwriter Chad St. John cooking up ways for the characters to experience devastating emotions and horrific physical encounters. “Motor City” isn’t the tightest feature around, but it packs a punch when necessary, trading words for deeds in a movie that enjoys taking on a dramatic challenge to bring something a little different to viewers. Read the rest at Blu-ray.com

Pickleball comedies have been popping up in 2026, with producers attempting to cash in on a sport that’s long past its initial trendy phase. Unfortunately, these endeavors have elected to hire actors such as Kevin Farley (“Pickleball”) and Kevin Sorbo and Dean Cain (“Pickleball Pete”) to bring the funny, and don’t feel bad if you’ve never heard of these movies. Screenwriter Sean Clements and director Josh Greenbaum (“Barb and Star Go to Vista Del Mar”) hope to go a little bigger with pickleball exploration in “The Dink,” which puts actor Jake Johnson to work portraying an accident-prone tennis pro forced to find his way back to glory via a sport he doesn’t respect. There’s actually not a lot of pickleball in the feature, but there’s a decent amount of charm, as Greenbaum has a fine cast eager to play with one another, while co-star Mary Steenburgen manages to steal the whole thing with her special presence, giving the film some heart to go with its silliness. Read the rest at Blu-ray.com

In 1984, when David Lynch’s “Dune” was released in theaters, Universal Pictures panicked at the last minute, ordering the distribution of terminology sheets for ticket-buyers, giving those new to author Frank Herbert’s world a chance to learn more about weapons, vehicles, and planets while settling into their seats. There’s no such help with “Kill Code,” with writer/director Justin Price electing to create a complicated sci-fi actioner, yet he refuses to explain much of anything he introduces. The endeavor is not just confusing, but willfully bewildering, hitting viewers with all kinds of world-building and multiple characters, forgoing the usual in introductions and explanations. Such a puzzling approach could work in an offering that encouraged deeper inspection, but “Kill Code” (which was shot four years ago) is bottom of the barrel moviemaking, with Price hoping complexity will help to obscure dismal performances and AI-shellacked visuals. It doesn’t, and, good heavens, it’s quite a challenge to sit through this terrible film. Read the rest at Blu-ray.com

Writer/director Christopher Nolan surprised a lot of people with his 2023 release, “Oppenheimer.” It was a three-hour-long study of a deeply troubled man, mostly avoiding the scale of previous Nolan endeavors, and it connected with audiences in a huge way. The success of “Oppenheimer” helped to secure the helmer’s name as a selling point for ticket-buyers, and he returns with a major flex of power with “The Odyssey,” taking on the adaptation challenge of Homer’s epic tale of danger and survival. Bigness is back in the picture, which looks to hypnotize audiences with its IMAX-approved visuals and ear-splitting sound design. Such overwhelming technical achievements end up the most impressive elements of the feature, with “The Odyssey” occasionally struggling with casting and screenwriting, putting Nolan once again in charge of a three-hour tour that might’ve found greater dramatic impact in a more concise cut. Read the rest at Blu-ray.com

The deadpan comedy spirit of Wes Anderson and Jared Hess appears to be the main influence on “The Kidnapping of Arabella,” an Italian production from writer/director Carolina Cavalli. She’s not necessarily out to make something uproarious with the endeavor, offering an askew sense of humor while examining the troubled life of a young woman trying to process past mistakes by making a fresh one, accepting the company of a feisty girl who lives to torment her father. “The Kidnapping of Arabella” has moments of hilarity, and Cavalli attempts to give the feature a healthy dose of idiosyncrasy to keep it unexpected. More dramatic intentions are less compelling, but still register with intended sincerity, allowing the movie to reach some personal areas of pain without fully losing viewers to slower pacing and a gradual loss of narrative drive. Read the rest at Blu-ray.com

In 2018, director Andrew Renzi released “They Fight,” a documentary inspecting the efforts of trainer Walter Manigan and his battle to teach young kids about the ways of boxing and discipline while dealing with his own tortured past as an ex-con. Renzi returns to the story with “They Fight” sharing a co-writing credit with Sheldon Candis, who also directs this dramatization of Manigan’s experience in southeast Washington D.C. after being released from prison. There’s a define underdog atmosphere to the endeavor, with “Creed” references replacing the usual “Rocky” ones, and Candis pays careful attention to the discipline and contest of boxing. But there’s a lot more to “They Fight,” which strives to be as human as possible, tracking the development of characters attempting to put their lives back together after experiencing tremendous upheaval, learning the value of communication, support, and persistence during a difficult time. Read the rest at Blu-ray.com

Nick Moorcroft has found his way into the business of feel-good English movies, joined by collaborator Meg Leonard to script 2019’s “Fisherman’s Friends,” which managed to appeal to a smaller audience with its softer ways. Moorcroft and Leonard raised their responsibilities by helming the 2022 sequel, “Fisherman’s Friends: One and All,” which didn’t attract much attention from ticket-buyers. Moorcroft reteams with Leonard for “Mother’s Pride,” though he goes solo behind the camera for this easygoing tale of a financially ruined pub in a small village in England looking to make a major comeback with a special brew shepherded by a troubled young man. There are no surprises in the picture, but these films tend to coast on charm, and “Mother’s Pride” has its moments of personality and feeling, playing simple games of broad conflict to entertain audiences. Read the rest at Blu-ray.com

Author Richard Matheson originally created “The Shrinking Man” in 1956, quickly turning around a screenplay for a 1957 movie adaptation. The concept has gone on to inspire many film, television, and literary offerings that explore the fantasy elements of the premise, but co-writer/director Jan Kounen (“Blueberry,” “Coco Chanel & Igor Stravinsky”) hopes to return to Matheson’s quiet intensity of thought with “The Shrinking Man.” A French production, the endeavor is prepared to sell the visual highlights of a small man fighting for his life after he’s forgotten in his own home, with star Jean Dujardin contributing excellent work while handling the demands of visual effects. “The Shrinking Man” intends to remain existential with its examination of life at many sizes, and the austere atmosphere of the feature is interesting to experience, balancing the wonders of the mind with the urgency of Smurf-sized survival demands. Read the rest at Blu-ray.com

We’re currently living in an age when movie studios and video game corporations are looking to eliminate physical media, preferring to live a digital download/streaming life to best profit from the art they sell. Writer/director Joseph Scrimshaw makes his feature-length helming debut with “Dead Media,” and he’s hoping to revive that nostalgic spark for discs, using the power and mystery of DVD navigation to inspire a horror tale that highlights zombie-like enemies, but mostly wants to play with acts of disorientation. “Dead Media” is a low-budget endeavor, but Scrimshaw works hard to make something lively and unique, finding an interesting way to approach the usual in stalk-and-kill cinema, giving his fright film special inspiration to help it through a few mismanaged ideas. Read the rest at Blu-ray.com

The “Evil Dead” film series took a bit of a break after the success of a 2013 remake, raring back after a decade of inactivity with 2023’s “Evil Dead Rise.” While franchise connections were limited, the production captured the spirit of director Sam Raimi’s original creation, successfully reviving the Deadite massacre for another installment of big screen hellraising. Three years later, there’s “Evil Dead Burn,” which offers a different tale of torment from screenwriter Florent Bernard and Sebastien Vanicek (who also directs) while firmly committing to the “Evil Dead” way. Wonderfully menacing, gory, and visceral, “Evil Dead Burn” sustains the momentum of “Evil Dead Rise,” launching a new descent into torturous encounters and horror exploding in contained settings. It’s a post-Ash universe now, but the brand name still packs a punch as a new group of characters are exposed to absolute danger and bodily destruction. Read the rest at Blu-ray.com

Of course, one fully understands why the Disney corporation continues on a mission to produce live-action remakes of their animated classics. Even with a few financial stumbles, the features make a lot of money for the company, and they carry built-in brand recognition, easing the pain of marketing movies to the masses. The last offering, 2025’s “Lilo and Stitch,” was a massive box office success, and represented a relatively recent release to reheat, redoing the 2002 original. Now “Moana” cuts even closer, with the first film in theaters only a decade ago, enjoying many years of home entertainment domination as audiences warmed to an absolutely wonderful picture. The new “Moana” (which was intended to be released last year, only to be bumped from the schedule to make way for 2024’s animated “Moana 2”) is looking to coast on such popularity and viewer love, but of all the live-action endeavors, this is arguably the most pointless. Director Thomas Kail has technology and casting, but he doesn’t have heart and originality, with “Moana” a cold-blooded copy of the 2016 effort. Read the rest at Blu-ray.com

The Asylum is a movie studio that specializes in low-budget entertainment, often taking advantage of major studio releases to submit a poorly constructed knockoff (“Transformers” vs. “Transmorphers”) to make a few bucks off the curious and the confused. They’ve built an entire library of pictures, with most barely making a buck, but remaining just profitable enough to keep the entire machine running for another round of movies. To quote the “Hellraiser” tagline, the company is “demon to some, angel to others,” and for Australian corporate video director Anthony Frith, The Asylum is just the place to get his start in the film business. “Mockbuster” is a documentary about Frith’s experience helming the 2025 feature, “The Land That Time Forgot,” putting him in the middle of a potential production disaster, hiring a crew to capture the insanity of the opportunity and the inner workings of Asylum life. Read the rest at Blu-ray.com

Stephen Susco is a seasoned horror screenwriter, previously credited on features such as 2004’s “The Grudge,” “Hell Fest,” and 2013’s ludicrous “Texas Chainsaw.” He turns his attention to more genre classics to help inspire “Black Box,” which is an airline disaster picture that blends “The Thing,” “Invasion of the Body Snatchers,” and the “Nightmare at 20,000 Feet” episode of “The Twilight Zone.” It’s a horror film playing a glacial game of discovery, asking viewers to remain patient with a low-budget endeavor that’s in no hurry to develop suspense or scares, and its feel for paranoia is severely lacking. Director Steven Quale (who’s racked up underwhelming efforts such as “American Renegades,” “Into the Storm,” and “Final Destination 5”) is tasked with making something exciting in a series of small spaces, but “Black Box” doesn’t break through with thrills and chills, mostly remaining lukewarm as characters are explored and mysterious threats are eventually defined. Read the rest at Blu-ray.com