Few people actually saw “This Is Spinal Tap” when it was originally released in 1984. The feature came and went, attracting some positive reviews and cult appreciation, leaving the real exposure of the film to home video and cable airings, where a fanbase developed, while the intimacy of domestic viewings certainly helped to process director Rob Reiner’s clever approach to faux documentary moviemaking. 41 years later, and the picture is a bona fide classic, one of the greatest comedies of all time, and stars Christopher Guest, Michael McKean, and Harry Shearer have certainly kept the brand name alive, releasing albums, making TV specials, and even touring as Spinal Tap, doing an incredibly impressive job extending the illusion with tremendous wit and good-natured fun. And now there’s “Spinal Tap II: The End Continues,” which is an official sequel, bringing Reiner and the guys back to the big screen for a fresh round of heavy metal tomfoolery, assembling a valentine to the aging band while putting them through the wringer of comedic misfortune again in this slight but very funny follow-up. Read the rest at Blu-ray.com

Box office fortunes took a bit of a dip for 2022’s “Downton Abbey: A New Era,” finding the sequel battling pandemic moviegoing habits while trying to offer fans of the television show and a popular 2019 film some cinematic comfort food during a troubling time. Thankfully, such marketplace challenges didn’t stop creator Julian Fellowes, who returns to his franchise once again with “Downton Abbey: The Grand Finale,” which is meant to be the last chapter of the series, which began 15 years ago. At least, that’s the general idea for the picture, as it seeks to address a changing of the guard within the Crawley Family, inspiring Fellowes to craft a proper “Downton Abbey” story and big screen event that deals with closure and new beginnings. “The Grand Finale” restores dramatic vitality to the saga, delivering a generally well-balanced understanding of community interests and character fears, while still retaining all the melodrama and manners Fellowes is known for. Read the rest at Blu-ray.com

Whatever master plan writers Jess Fuerst and Pablo Fenjves and director Brad Furman (“The Lincoln Lawyer,” “The Infiltrator,” “Runner Runner”) originally had in mind for “Tin Soldier” hasn’t made it to the final edit. Actually, I’m not sure one could even consider this feature as “edited,” as it carries no shape or filmmaking rhythm. Heck, it barely makes any sense. Intent isn’t easy to decode, but it appears Furman wanted to take a big swing in the realm of thriller cinema, striving to create an epic tale of doomsday cult activity, veteran affairs, and rescue action, trying on a little world-building for size. “Tin Soldier” (which was shot three years ago) might’ve been something wild in its original form, but it no longer resembles a functional picture, showing signs of severe reediting and rethinking, emerging as more of a salvage job than a completed endeavor, and someone, somewhere simply gave up on it in the end. Even for bad movie lovers, this one is a pretty dire viewing experience. Read the rest at Blu-ray.com

Author Walter Mosley, normally lauded for his command of mysteries, takes a turn into the darkness of the human soul in “The Man in My Basement,” which is an adaptation of his 2004 novel. Mosley handles screenwriting duties, tasked with transforming a largely internalized journey of guilt into something cinematic, joined by Nadia Latif, who makes her directorial debut with the effort. “The Man in My Basement” is challenging work, and also more of a theatrical experience as two characters spend time discussing the horrors of their lives. Pacing isn’t always present in the endeavor, but strong performances and periodic hits of emotionality support the odyssey into madness. The film isn’t for all audiences, remaining specialized work for those with an interest in a dissection of human misery, and the movie finds plenty of psychological poison to highlight as a seemingly simple rental agreement between two men becomes a battle for sanity. Read the rest at Blu-ray.com

The director of “I Am Legend” and four chapters in “The Hunger Games” saga, Francis Lawrence certainly loves his stories of dystopian desperation with a little bit of gamesmanship blended into the despair. He’s fully practiced on the subject, and returns to the way of agony in “The Long Walk,” an adaptation of a 1979 Stephen King book, which followed the painful ways of a walking contest involving young men and a totalitarian government using violence and glory to maintain control over the masses. It’s a bleak study of endurance with a defined King curveball, slipping into the macabre on occasion as characterization takes center stage. “The Long Walk” has its issues, but Lawrence certainly isn’t taking the assignment lightly, creating a brutal, pitiless viewing experience that occasionally hits extremely hard with its visuals and performances. Read the rest at Blu-ray.com

“Twinless” is the second film from writer/director/actor James Sweeney, who previously helmed 2019’s “Straight Up.” It’s a sophomore effort that plays with remarkable confidence at times, putting Sweeney to a difficult tonality test as he mounts a dark comedy about wounded people and their messy emotional survival skills. It’s the story of two men finding each other in a world of pain, making an unlikely connection that’s challenged by unusual outside forces as the central bond strengthens. Sweeney maintains attention to character and mood with “Twinless,” taking a few risks with unlikability to explore a particularly troubling story and the personalities that populate it. It’s a surprising endeavor, and one that’s well-written and crafted, but also superbly performed, as Sweeney is joined by Dylan O’Brien in the feature, and he’s never been better, portraying two defined people inadvertently dealing with issues involving the same man, generating a fascinating inspection of trust and obsession in an excellent picture. Read the rest at Blu-ray.com

Most boxing movies follow a distinct formula. It’s the “Rocky” way, following fighters as they experience challenges and troubles on the road to Fight Night, which is usually offered as a major climatic event, paying off all the psychological study and training insanity. “The Cut” is a boxing picture that has very little interest in the sport itself, with screenwriter Justin Bull drawn to a highly specific element of verification, the weigh-in, to inspire a descent into madness as an aging pugilist does everything possible to make sure he qualifies for an important match. It’s a unique look at desperation and manipulation, with Bull using the ugly side of training and business dealings to inspire a tough look at suffering. Director Sean Ellis (“Anthropoid,” “The Cursed”) is tasked to make an offering about pain, but “The Cut” is attentive to character history and relationships, helping to pull the feature away from simple sports film intensity. Read the rest at Blu-ray.com

 

“The Threesome” doesn’t have it easy when it comes to tonality. Screenwriter Ethan Ogilby (a “Simpsons” vet) intends to send viewers on a turbulent ride of emotions and life complications in the picture, tracking the increasing pressure facing a young man who’s managed to father two babies after a night of sexual adventuring, finding himself in a strange place as he tries to support everyone in his life. The premise is ripe for a farcical approach, but the writer doesn’t commit to a film filled with zaniness. Ogilby attempts to be a bit more sincere with the endeavor, and director Chad Hartigan (“Little Fish,” “Morris from America”) supports the vision with a sensitive understanding of the central crisis. “The Threesome” maintains its indie cinema textures, but there’s also a crowd-pleasing element to the offering that’s handled well, creating an inviting viewing experience while exploring a troubling situation. Read the rest at Blu-ray.com

 

Screenwriters Kyle Marvin and Michael Angelo Covino found their way to some notice in 2020’s “The Climb,” where they explored the complications of life and love while following a study of male friendship. The duo returns with “Splitsville,” and they don’t stray far from their dramatic interests, once again inspecting the difficulties of partnerships and connections, this time involving married couples trying to make sense of a newfound curiosity around the ways of open relationships. Marvin and Covino (who also directs) have something slightly wacky in mind for the feature, but they also try to blend in emotionality and perhaps a bit of reality as they construct a semi-farce. “Splitsville” is funny and very strange, following a screenplay that’s attempting to share bizarre behaviors and relationships, out to remain approachable while dealing with thorny issues of jealousy and control. It’s a fascinating tonal tightrope walk at times. Read the rest at Blu-ray.com

 

Jay Duplass was once an indie cinema darling, directing features with his brother, Mark, winning critical approval with offerings such as “The Puffy Chair,” “Baghead,” and “Cyrus.” The men went their separate ways, sending Jay to television for the last 13 years, but he returns to screens with “The Baltimorons,” reuniting with his old creative path, making another small picture about big feelings that’s not too concerned with structure. Personality dominates the endeavor, putting stars Michael Strassner and Liz Larsen to work portraying two lonely people finding each other on Christmas Eve, setting out to understand emotional wounds and lift their spirits as they experience a bit of burgeoning relationship joy while making their way around Baltimore. “The Baltimorons” retains the old Duplass charm and odd sense of humor, delivering a somewhat shapeless but inviting examination of unlikely attraction on a particularly eventful night. Read the rest at Blu-ray.com