2014's "Norway" is a vampire movie, but it lacks a whole "creatures of the night" atmosphere. It's a Greek production from writer/director Yannis Veslemes (making his feature-length helming debut), who tries to do something different when it comes to the appetites of a bloodsucker on the prowl. "Norway" is short (75 minutes), but there's not a lot of content in the picture to begin with, as Veslemes trusts in the power of atmosphere to carry the viewing experience, bathing the endeavor in big colors, heavy sounds, and strange encounters, offering a film that's not especially rattling overall, but works in small moments of weirdness and pure cinematic power. Read the rest at Blu-ray.com

Malaise is poured on thick in 1992's "Rebels of the Neon God," which charts the slow decline of characters stuck without a future, or at least the motivation to achieve one. It's a Taiwanese production from writer/director Ming-liang Tsai, who's out to communicate a sense of confusion with the work, looking to understand the wayward ways of young adults who no longer have the protection of adolescence, forced to deal with their own problems for the first time in their lives, and they just don't have interest in doing so. "Rebels of the Neon God" is deliberately paced and performed, but the production captures a level of behavioral authenticity that's fascinating to watch at times, observing acts of self-sabotage and perceived freedom that fail to provide necessary emotional rewards for the characters. Read the rest at Blu-ray.com

"Assholes" is not a movie for everyone. The title alone is a strange, exhibition-killing move from writer/director Peter Vack, and he's intent on making a film that's only for viewers into extremity, going wild with grotesque imagery to fuel a comedy about life, love, horniness, and poppers. There's so much going on in the effort, yet nothing really happens in "Assholes," which emerges as an experiment in charged imagery and New York City neuroses – a kind of Woody Allen riff, if the helmer decided to make a feature for Troma Entertainment. The endeavor is certainly memorable, which presents a creative victory for Vack, but his determination to chase every whim quickly grows tiring, even for a picture that's barely 70 minutes long. Read the rest at Blu-ray.com

Director Cheryl Dunn takes a look at the whirlwind life of artist Dashiell Alexander Whitney Snow in "Moments Like This Never Last," remaining curious about a man who was born into privilege, only to break away from expectation, living a life that rejected "laws" and the "system." Snow died of a heroin overdose in 2009, leaving behind a strange life and legacy that's of interest to Dunn, who gathers pictures, video footage, and interviewees to help examine the life and times of Snow, attempting to preserve his position in the art world with her documentary. Read the rest at Blu-ray.com

It's easy to forget all these years later, but in 1994, Jim Carrey went from being a comedian doing consistent work on a Fox television show to become the biggest and most bankable star in Hollywood. This special year gifted "Ace Ventura: Pet Detective," "The Mask," and "Dumb and Dumber" to the world, with Carrey showcasing his considerable gifts with chaotic funny business, becoming a household name in the process. 1995 continued the party, as Carrey stole "Batman Forever" and suited up for sequel duty with "Ace Ventura: When Nature Calls." With 1996's "The Cable Guy," Carrey took a chance on darker material, which didn't connect in full with his audience, making 1997's "Liar Liar" a careful realignment of his known comedic fury, offering the actor a chance to revive his tornado-like screen presence with a slightly softer offering of sentimental hokum, teasing newfound dramatic interests from the star. It's the Carrey of old meeting the Carrey of tomorrow, and while "Liar Liar" fails to be meaningful, it does offer some wonderfully unhinged work from the actor, who works at top speed and volume to make a big studio smash out of simple high concept comedy. Read the rest at Blu-ray.com

1964's "Lady in a Cage" is a take-no-prisoners kind of movie, with Paramount Pictures trying to shake up the norm in thriller cinema with this offering of nastiness. They're successful with shock value, and director Walter Grauman is completely committed to creating a jolting viewing event featuring a cast of characters who lack all sense of decency and restraint. "Lady in a Cage" eventually reaches an obnoxious level of hysteria, but the ride to overkill is something to see, with the material making room for awful things to happen to awful people, bravely creating a home invasion tale where there's nobody to root for. Read the rest at Blu-ray.com

Repeated throughout the supplementary material on "The Vampire Lovers" Blu-ray is the strange state of Hammer Films entertainment as the 1960s came to a close. The studio once trusted in the power of gothic storytelling with emphasis on monster mayhem, but audiences were growing bored of the routine, demanding something different from a company that thrived on repetition. With adjustments made to the "X certificate" in 1970, Hammer was allowed to pursue some more adult avenues of escapism, with "The Vampire Lovers" merging genre interests with pronounced eroticism, delivering something a bit more risqué than previous productions. Read the rest at Blu-ray.com

1974's "Madeline: Anatomy of a Nightmare" presents actress Camille Keaton with an acting challenge, tasked with portraying an emotionally scarred woman dealing with the melting of her own mind and various lovers than come into her life. Writer/director Roberto Mauri attempts to mix real-world trauma with erotic cinema in the endeavor, which never quite connects as intended, but offers some reasonable areas of behavior and abstract moviemaking to keep it compelling. Read the rest at Blu-ray.com

1973's "Sex of the Witch" has a decent set-up for a giallo-style thriller. We meet a family patriarch on his deathbed, hearing his final thoughts about his gathered family, also sharing something about a secret only he and one other person knows about. The man dies, and his will offers his estate to his relatives, who now have an incentive to kill off one another to claim more of the old man's fortune. There's a sluggish but passably enticing first act that's basically discarded as the film unfolds, as director Angelo Pannaccio is more interested in making a softcore experience than a proper thriller. What a shame. Read the rest at Blu-ray.com

I'm sure there was a game plan for 1972's "Tragic Ceremony," but the final cut of the picture plays like a handful of different ideas competing for screen time. The production aims to be a chiller, dealing with satanic power and mass death, but the film is mostly about The Hang, spending extended time with the characters as they deal with interpersonal issues, with violence occasionally breaking out. "Tragic Ceremony" isn't an offering of slow-burn suspense. The feature simply parks for long stretches of screen time, occasionally working up the energy to deliver bits of chaos. Read the rest at Blu-ray.com

1979's "Arrebato" is written and directed by Ivan Zulueta, and he's interested in taking viewers on a journey few will fully understand. It's a feature about drugs, movies, and sleep, and it doesn't form a traditional narrative approach, preferring to slosh around the muddiness of interpretative cinema. Zulueta enjoys getting lost with the audience, creating a picture that's primarily a Lynch-ian study of textures and behaviors, embracing a different kind of power that comes from inscrutable filmmaking. Read the rest at Blu-ray.com

To many, Alan Moore is a legend in the comic book business. He's been the driving force behind such famous works as "Watchmen," "Batman: The Killing Joke," and "The League of Extraordinary Gentlemen." His contributions to the art form and his deconstruction of the superhero experience has inspired generations of artists, but he's been very outspoken about the movies adapted from his own material. Critical of "Watchmen" and "V for Vendetta," Moore is more than happy to share his opinion about way the film industry treats his material, but "The Show" provides a rare opportunity to watch him manufacture an original tale for the big screen. Moore isn't straying far from what he knows about corrupt and troubled human beings, but he also doesn't have the budget to do much of anything with "The Show," which is basically a T.V. pilot for an English version of "Twin Peaks," dealing with eccentrics, lunatics, and the puzzling ways of dreamscapes. Moore is no David Lynch, leaving the picture quite an endurance test for those who don't worship the comics industry deity. Read the rest at Blu-ray.com