One can experience all kinds of nightmares on the big screen involving a community of movie maniacs or supernatural threats. But there’s nothing more frightening than a collection of unsupervised, parent-free 12-year-old boys. That’s the level of fear writer/director Charlie Polinger brings to “The Plague,” which studies to corrosive effects of bullying at a water polo camp for kids, taking special note of one boy’s quest to endure unimaginable cruelty. The helmer hopes to maintain a high level of artistry with the endeavor, but he’s also out to make a Stanley Kubrick film here, merging the creeping terror of “The Shining” with the cancerous group dynamics of “Full Metal Jacket.” “The Plague” is a lot to take in, exploring how horrible children can be to one another, and Polinger looks to make an intensely atmospheric offering. It doesn’t quite come together in full, but there are moments where the material is chillingly authentic and difficult to process. Read the rest at Blu-ray.com

If one squints hard enough, one could see some potential in “Altered.” It plays like a sci-fi novel, or perhaps a comic book, taking viewers to a future world that’s populated with mutated humans who live in two distinct classes, inspiring a tale of protection and revolution. There’s also a special mechanical suit in play, giving the lead character unusual powers to help deal with threats. Writer/director Timo Vuorensola (who made a positive impression with 2012’s “Iron Sky,” but hasn’t scored again since the picture’s release) blends all kinds of genre influences into the screenplay, maintaining interest in world-building and, for parts of the feature, action. However, “Altered” just doesn’t work, often caught struggling with momentum as the story starts and stops one too many times, and performances aren’t there, unable to bring the endeavor’s broadness to life. Read the rest at Blu-ray.com

In 2022, director Noah Baumbach took all the accolades and attention he received for 2019’s “Marriage Story” and funneled them into the production of “White Noise.” It was often described as an “unfilmable” novel by Don DeLillo, but that didn’t stop Baumbach, who attempted to bring the book’s absurdities and eccentricities to the screen, ending up with a flawed picture that failed to find much of an audience. The helmer is back on solid ground with “Jay Kelly,” which returns him to the wilds of human emotions, especially guilt and shame, joining co-writer Emily Mortimer (the veteran actress also appears in the endeavor) for a look at a movie star, the last of his kind, coming to grips with mistakes made with his loved ones during an impossibly successful career. “Jay Kelly” looks to give everything to stars George Clooney and Adam Sandler, and acting is excellent as the whole cast is offered room to explore. However, Baumbach gets carried away with the run time (135 minutes), on a quest to make sure this effort hits the heart, no matter how long it takes him to do so. Read the rest at Blu-ray.com

Writer/director Osgood Perkins is working fast these days, and perhaps for good reason. He scored a major hit in 2024’s “Longlegs,” blessed with a slick marketing campaign to bring big screen chills to the summer season. The feature worked for some viewers, and Perkins was right back at it in last winter’s “The Monkey,” reviving his love of slow-burn creepiness in a Stephen King adaptation that worked for, well, less viewers. Perkins isn’t wasting any time once again, returning with his second release of 2025 in “Keeper,” which continues his career obsessions with macabre imagery, screen stillness, and shock value, only he’s really in no hurry to offer much of anything this time around. “Keeper” is a small picture, sticking mainly to one location, and it’s not effective as a chiller, finding the helmer essentially repeating himself with another ineffective, glacially paced nightmare. Read the rest at Blu-ray.com

2016’s “Now You See Me 2” was an attempt to see if there was a franchise to be built after the unexpected success of 2013’s “Now You See Me.” The original feature found an audience for its display of magicians using faux magic to pull off heists and rescues, and the sequel was more of the same, working on developing a world for the brand name that never quite took. Grosses dipped a little for the follow-up (especially in North America), but money was made, and another sequel was certain to follow. Until it didn’t. Now nine years later, there’s “Now You See Me: Now You Don’t,” which is an attempt to get things going again, with the production adding new magicians to the cast to help take over should the box office gods be merciful. There are fresh faces around the picture, but the screenplay (credited to four writers) is the same old stuff, delivering a tepid return to “Now You See Me” business, with director Ruben Fleischer in charge of making something flashy, not fulfilling. Read the rest at Blu-ray.com

There are certain expectations in place when approaching “Being Eddie.” It’s a documentary about Eddie Murphy, and he’s always been a bit reluctant to discuss his personal life, and there are times when it appears like the simple act of sharing anything with the press is downright torturous for him, making the sudden arrival of the feature a bit bewildering. Murphy doesn’t have a movie to promote or, publicity-wise, a wrong to right, but he submits to the process for the picture, opening parts of his home and sections of his life for director Angus Wall. “Being Eddie” isn’t a true dissection of the Eddie Murphy Experience, as Wall shoots for a more casual viewing experience, keeping the subject loose instead of overly guarded. A true peek into behavior and history isn’t offered here, but time with Murphy remains lively and often very funny, and there are certain parts of the effort that deliver a different appreciation of the subject and his wild ride of fame and family. Read the rest at Blu-ray.com

Writer/director Max Walker-Silverman attracted some attention with his work on 2022’s “A Love Song.” He found praise for his sensitive handling of characterization and performances, on the hunt for emotions and people typically ignored by major releases. His indie heart remains beating in “Rebuilding,” which continues his journey into intimate storytelling, this time examining the worries of a cowboy who’s lost his ranch to a ferocious wildfire, left to rebuild his life with little to show for his work. It’s a timely tale of displacement, though Walker-Silverman isn’t making a disaster picture, willing to explore a human response to catastrophe. “Rebuilding” has every opportunity to slip into melodramatic extremes, but the helmer has no interest in overcooking the material. He goes mournful and oddly peaceful instead, creating a lovely understanding of resilience and community in a tender film that’s gracefully made. Read the rest at Blu-ray.com

Nicolas Cage in a biblical film? I mean, why not at this point. However, the workaholic star isn’t going the usual route to heavenly wonders in “The Carpenter’s Son,” which is a take on Jesus-adjacent happenings from the “apocryphal gospels,” giving the production an alternate path to take when dealing with known elements of Christian storytelling. Cage doesn’t hold back in the feature, offering his usual intensity for writer/director Lotfy Nathan, who’s genuinely trying to reach some intriguing moments of darkness for the effort, which, at times, almost plays like a horror movie. “The Carpenter’s Son” is moody and contains a few interesting visuals tied to the spread of evil in the area. Nathan can’t quite find a gripping final act for the film, but there’s a noticeable effort to offer something different and perhaps disturbing, tapping into parental and faith-based fears as he attempts to conjure a nightmare. Read the rest at Blu-ray.com

You know that sinking feeling when you’re watching a movie and you begin to realize it isn’t working? For “Playdate,” it’s more of an immediate understanding. It’s a wholly generic endeavor from director Luke Greenfield, who’s made many of these during his career (including “Something Borrowed,” “Half Brothers,” and “Let’s Be Cops”), and his streak continues here, overseeing a soul-flattening action comedy that seems like a family film, but contains hard PG-13 material from screenwriter Neil Goldman (a television vet). And it seems like a picture that would be funny, but there’s not a single laugh to be found. It’s just a noisy, ugly offering of uninspired stupidity that struggles with performances, editing, dramatic structure, and themes, with Greenfield putting all his faith in stars Kevin James and Alan Ritchson to be extraordinarily charming and goofy to carry this awful, awful movie. Read the rest at Blu-ray.com

In 1982, Stephen King wrote “The Running Man” (under his pseudonym, “Richard Bachman”), presenting a dystopian tale of societal ruin and government corruption, looking to hit readers with big ideas about a possible tomorrow. The novel was set in 2025. We’re there now, and certain realities are quite bleak, teeing up a chance to bring the material to the big screen without having to change much. Screenwriters Michael Bacall and Edgar Wright (who also directs) are absolutely looking to play close to the King handbook for their version of “The Running Man,” which was previously brought to screens in a 1987 Arnold Schwarzenegger action vehicle that veered wildly from the book. Wright oversees a slightly more grounded picture that hopes to hold up a mirror to the real world, but, as entertainment, the feature runs out of steam pretty quickly, often stuck dealing with lousy dialogue and miscast actors as it tries to marry the silliness of the previous adaptation with the sobering qualities of King’s work. Read the rest at Blu-ray.com

Comedy hasn’t been kind to director Michael Dowse in recent years. He’s tried to merge wackiness with violence in such efforts as 2019’s “Stuber” and he hit a real career low point with the awful “Coffee & Kareem,” which was one of the worst films of 2020. He’s not exactly a mastermind when it comes to merging thrills with laughs, and his latest, “Trap House,” initially promises another lighthearted take on dangerous situations involving clueless characters. Mercifully, the screenplay (by Gary Scott Thompson and Tom O’Connor) eventually pulls back on its humor to transform into more of an action thriller, developing an interesting idea for peril and parental protection involving the children of DEA agents and their foolish idea to steal from a Mexican drug cartel. “Trap House” has its limitations, but it remains mostly involving and, at times, a bit exciting, keeping Dowse focused on dramatic interests. Read the rest at Blu-ray.com

Writer/director John Swab typically makes B-movies, keeping his career going with the usual in action entertainment these days, trying to adrenalize such endeavors as “Little Dixie,” “One Day as a Lion,” and “Long Gone Heroes.” Swab tried something different in 2021’s “Body Brokers,” striving to highlight the corruption of the treatment industry. While the feature ultimately wasn’t successful, it still took a swing, and Swab offers another at-bat with “King Ivory,” which is his version of Steven Soderbergh’s “Traffic,” examining the war on drugs from multiple perspectives. Looking to get tough with the subject matter, Swab tries to remain pitiless with “King Ivory,” offering a grim state of the union address that’s vivid at times, getting into the ongoing disaster of drugs and gang violence. It’s not a complete statement on the situation, but the helmer certainly has passion for the topic, scoring an intermittently suspenseful film. Read the rest at Blu-ray.com

There’s nothing wrong with vanilla entertainment. People need comfort movies, especially ones that play up the power of love and hope, providing escapism with appealing actors involved in mild drama, preferably in an exotic location. “Under the Stars” has a few of these elements, but it’s disappointing to find screenwriter Victoria Vinuesa (“See You On Venus”) remain so unadventurous with the writing. She doesn’t put much thought into the picture, which takes an emotionally wounded man to Italy on vacation, meeting a woman capable of restoring his spirit and power his creativity. Simplicity isn’t the problem, but a lack of charm and tension is, watching director Michelle Danner (“Miranda’s Victim”) unwilling to make a livelier offering of tenderness and companionship. “Under the Stars” has two fine actors in Andy Garcia and Toni Collette, but they’re in support mode here, leaving the rest of the movie to tepid events and easily solvable problems. Read the rest at Blu-ray.com

Just last month, director Richard Linklater was exploring the history of musical theater, detailing a particular night of concern and revelry in 1943 for lyricist Lorenz Hart in “Blue Moon.” Now the helmer jumps ahead to 1959 to track the development and production of 1960’s “Breathless” in “Nouvelle Vague,” out to celebrate the formative years of the French New Wave and understand its impact on the future of cinema. Linklater and writers Holly Gent and Vincent Palmo Jr. aren’t out to make a defined statement of artistic power, preferring to observe the chaos and experimentation that brought Jean-Luc Godard’s offering to life. “Nouvelle Vague” is a light feature about the creative process, and Linklater looks to return audiences to the past with a loving examination of rebellion. It’s an engaging sit but nothing substantial, most certainly aimed at “cinemaniacs” who enjoy moviemaking history and more adventurous viewers endeavoring to learn about an influential moment in time. Read the rest at Blu-ray.com