“Paws of Fury: The Legend of Hank” hasn’t enjoyed the smoothest ride to a release. The picture was initially put into production over seven years ago, conceived as an animated tribute to Mel Brooks’s “Blazing Saddles,” only with a samurai setting featuring a cast of animated cats and dogs. Production issues were plentiful, with the project coming to a full stop more than once due to money issues (the movie opens with a very long list of financial partners), taking the long way to completion. And now the feature is finished, and it’s certainly not a disaster, with directors Chris Bailey, Mark Koetsier, and Rob Minkoff trying to make something happen with a blend of slapstick comedy and sword-swinging action. “Paws of Fury” is occasionally energized, but select scenes of entertainment can’t support a largely mediocre offering of silliness. It’s not offensive, just forgettable, missing a special quality to keep the excitement going long after the film ends. Read the rest at Blu-ray.com

One year ago, co-producers Randall Emmett and George Furla, director Mike Burns, and screenwriter Bill Lawrence collaborated on “Out of Death.” It was one of the worst films of 2021, with the low-budget VOD offering (reportedly shot in just nine days) doing next to nothing with performances and opportunities for excitement, basically remaining a dull, dim chase picture set in the woods. The team returns with “Wrong Place,” which, weirdly, is nearly the same exact movie, once again following characters as they deal with survival requirements while stuck in the woods. It didn’t work the first time, and it doesn’t have a chance to connect here, finding the production lacking bravery with their plotting and “surprises,” sticking with the same lethargic filmmaking as before. “Wrong Place” is a massive drag to sit through, barely showing signs of life as it hugs formula tight and trusts in the star power of Bruce Willis who, sadly, looks comatose, inspiring viewers to care more about his personal health than anything in the endeavor. Read the rest at Blu-ray.com

Directors Anthony and Joe Russo found tremendous success with their work in the Marvel Cinematic Universe, dealing with the enormity of the comic book world and its major battles. They moved on after managing the epic needs of “Avengers: Endgame,” but the Russos haven’t found their footing with follow-up projects. Last year, there was “Cherry,” an unpleasant, overlong attempt to butch up with real-world horrors after spending a decade with superheroes. And now there’s “The Gray Man,” which finds the siblings back to business with a massive actioner that takes viewers around the globe, following the dangerous adventures of a black ops agent in survival mode, facing a relentless opponent. “The Gray Man” is an adaptation of a novel by Mark Greaney, and it has some “Spy vs. Spy” potential, but the Russos lose sight of their creative goals early on, unable to nail a consistent tone and considered brutality for what quickly becomes a bad parody of a terrible Michael Bay movie. Read the rest at Blu-ray.com

There’s a line delivered at the opening of “Don’t Make Me Go,” with the main character declaring to viewers that they’re “not going to like how this story ends.” It’s an important warning to heed, as there’s a frightening accuracy to the statement, with screenwriter Vera Herbert taking special care to torpedo her own movie with incredibly manipulative dramatic choices. It’s a shame “Don’t Make Me Go” ends so poorly, as it begins with some sense of adventure when it comes to exploring a relationship between a father and daughter, and how such a union is attacked by the unpredictability of life and the traditional challenges of adolescence. Director Hannah Marks has a warm vision for intimate matters of the heart and family, but she’s committed to a final act that takes something with promise and transforms it into a lame soap opera. Read the rest at Blu-ray.com

“Mrs. Harris Goes to Paris” is a terrific example of acting, and how it’s capable of supporting a viewing experience when the material periodically dips into uninspired areas of drama. The star is Lesley Manville, who made powerful impressions in “Phantom Thread,” “Another Year,” and “Ordinary Love,” and she returns to full power in her latest turn, which distances her from the usual emotional severity she’s normally hired to communicate. As the title suggests, “Mrs. Harris Goes to Paris” is entertainment, mixing lighter feelings with a comedic approach, but Manville doesn’t ignore the possibilities of the character, delivering a full-bodied performance that carries the feature at times, backed by an impressive supporting cast and occasional moments that land their intended fuzzy feelings. It’s not the most rousing endeavor, but small creative goals help the film remain as charming as it possibly can. Read the rest at Blu-ray.com

After a career working with Disney Animation on some of their best films in recent memory (“Moana,” “Big Hero 6”), Chris Williams makes a move to go solo with “The Sea Beast,” bringing his veteran status to Netflix Animation for this oceanic adventure. While an original story from Williams and co-writer Nell Benjamin, the influence of “How to Train Your Dragon” is definitely felt during the viewing experience. There’s nothing wrong with that, as the DreamWorks Animation trilogy offered wonderful moviemaking and rich characters, and “The Sea Beast” gets fairly close to greatness with its inspection of a world of hunters ruled by fear and deception facing a challenge from a spirited girl beginning to see the truth behind all the lies. Williams serves up massive visuals and strange creatures, and the writing works hard to provide a metaphorical journey for the world of today, doing so with lots of excitement and sharp lessons for younger viewers on the importance of courage. Read the rest at Blu-ray.com

The difficulties of senior year love are explored in “Hello, Goodbye, and Everything in Between,” which is an adaptation of a 2015 young adult novel by Jennifer E. Smith. The author hands screenwriting duties over to Ben York Jones and Amy Reed, who are tasked with clarifying the story, which plays with time and includes various characters, while the plot basically remains with two teens and their struggle to make sense of a future that’s on the brink of starting. There are no surprises in the picture, which offers a traditional look at the pains of adolescent impatience, but director Michael Lewen understands the assignment, working to give the feature as much heart as possible while still playing to a specific demographic with the endeavor. “Hello, Goodbye, and Everything in Between” makes a positive impression with its acting and emphasis on the confusion of break-ups, giving viewers some tingles and tears as two characters wrestle with their deep feelings for each other. Read the rest at Blu-ray.com

One of the bright spots in the Marvel Cinematic Universe was 2017’s “Thor: Ragnarok,” with director Taika Waititi endeavoring to bring a specialized tone to the comic book spectacular, pulling away from character introductions and consequential acts of planetary heroism to make something slightly daffy with the “Space Viking.” “Ragnarok” was a gamble, with the MCU previously allowing the Guardians of the Galaxy to sniff around a lighter approach, but Waititi ran with the opportunity, crafting a hilarious adventure with Thor and his comrades, cranking up the Led Zeppelin and enormous action to present the cinematic equivalent of an extravagant custom van paint job. It was a terrific movie, and Waititi has returned (with a co-writing credit) to deliver the next chapter in the “Thor” saga, restoring the atmosphere of the previous odyssey with a slightly heavier round of freewheeling fun, looking to keep the God of Thunder loose and amusing, but also hitting the big guy with some profound emotional weight this time out. Read the rest at Blu-ray.com