“Shadow in the Cloud” has a difficult time deciding what kind of film it wants to be. The screenplay by Max Landis and Roseanne Liang (who also directs) is all over the place in terms of story and tone, with one side of the picture a study of the female military experience in World War II, while the other side is a monster mash highlighting a battle between panicky U.S. flight officers and giant bats hungry to feast on the innards of a massive B-17 bomber. While “Shadow of the Cloud” strains to be accepted a B-movie fun, Landis and Liang don’t have a viable game plan for big thrills, often resorting to cheap elements of suspense just to fill a 70-minute-long endeavor. The effort feels like a short stretched thin to meet feature-length requirements, and it’s awfully strange to watch Liang bend over backwards to transform the production into a celebration of womanly power in WWII while offering a completely fictional tale of survival. Read the rest at Blu-ray.com

Simon West is the latest filmmaker to realize his career isn’t working out so well in Hollywood (his recent output includes duds such as “Stratton,” “Gun Shy,” and “Wild Card”), making a move to China to help boost his employability, bringing some western technique to eastern audiences (Renny Harlin made a similar relocation a few years ago). West’s debut endeavor for China is “Skyfire,” which pits scientists and businesspeople against a raging island volcano, revisiting a natural disaster scenario that overwhelmed multiplexes a few decades ago with the release of “Dante’s Peak” and “Volcano.” West isn’t one to put his stamp on anything, and he goes through the motions on “Skyfire,” which hopes to dazzle audiences with grand spectacle and massive amounts of property damage, but offers little else worth paying attention to. Read the rest at Blu-ray.com

The screen needs new action heroes. Liam Neeson is clinging on to his standing as a senior brawler, still churning out thrillers where he’s bashed and bruised while on the hunt for justice. There really isn’t much more than that out there, leaving an open space for different types of good guys. While late to the party, actor Gary Dourdan (who achieved fame with his years on “C.S.I.”) offers steely stares and muscle flexing with “Redemption Day,” which presents him as a haunted military man out to rescue his kidnapped wife in the wilds of Algeria. The ingredients are there for old-fashioned escapism, but co-writer/director Hicham Hajji (making his helming debut) doesn’t necessarily want brawny chaos. He’s looking for political commentary, transforming “Redemption Day” into a series of conversations sold at half-speed, weirdly skipping excitement at almost every turn. Read the rest at Blu-ray.com

It’s always a positive thing to see performers taking control of their careers, pushing themselves to do something that represents their interests. Actresses Meagan Good and Tamara Bass elect to make such a move behind the camera, making their feature-length directorial debut with “If Not Now, When?” Intentions are pure, with the pair trying to secure something of a remake of “Waiting to Exhale,” giving them ample opportunity to act and provide material that explores the trials of women struggling to maintain their strength during turbulent relationships and personal issues. That it’s not a more inventive character study is incredibly disappointing, with Good and Bass playing an easy game of melodrama to get through the story, while the low-budget reality of the production tends to diminish its screen power. Read the rest at Blu-ray.com

“Minari” initially presents itself as a story of farming and immigration, but writer/director Lee Isaac Chung (“Abigail Harm”) uses such broad topics to get in deep with a Korean family undertaking a massive life change, looking for hope in the middle of rural Arkansas. Chung explores marriage, maturity, family, and childhood, finding his way into the corners of the story, locating rich textures of behavior to study. “Minari” has a lot of heart and a lot of misery, with the production making sure to keep viewers on edge as decent people experience the lows of labor and trust. Chung makes a sensitive picture, and he brings in an excellent cast to realize his screenplay, with the actors mastering the art of subtle reaction to big swings of fate, keeping the feature relatable as Chung finds different ways to punish his characters. Read the rest at Blu-ray.com

Actress Regina King has been dabbling in direction for seven years now, making television shows and movies, honing her skills after decades spent in front of the camera (winning an Academy Award in 2019). She transitions to the big screen for “One Night in Miami,” in charge of material originally created for the stage, with playwright Kemp Powers adapting his own work. The challenge presented here is one of timing and intensity, as most of the story takes place inside a single hotel room, focusing on four icons of black power in the 1960s as they handle their friendships, work out their differences, and make plans for the future. King provides an assured effort with “One Night in Miami,” capturing the energy inside the room and the heaviness of what’s to come, giving Kemp’s offering cinematic life. Read the rest at Blu-ray.com

“Herself” is the first feature from director Phyllida Lloyd in nine years. She scored with 2011’s “The Iron Lady” and guided one the biggest hits of 2008 in “Mamma Mia,” but there’s been little sign of her over the years. Instead of maintaining career momentum, Lloyd returns with the smallness of “Herself,” which explores the personal hell of one woman trying to escape the horrors of domestic abuse while playing a dangerous game of hope with the secret construction of a home just for her family. Co-scripted by star Clare Dunne, the movie is an actor’s showcase, serving up hardships for the talent to examine with intensity, and Lloyd’s job is to keep the whole thing approachable despite some grim detours in legal and emotional challenges. Imagine Ken Loach on antidepressants, and that’s somewhere near the viewing experience of “Herself,” a noble but slightly formulaic film. Read the rest at Blu-ray.com

While marketing materials push the idea that “We Can Be Heroes” is a sequel to 2005’s “The Adventures of Sharkboy and Lavagirl,” it’s not the continuation most fans are hoping for. In fact, Sharkboy doesn’t have any lines and isn’t played by original actor Taylor Lautner, and while Taylor Dooley returns to the role of Lavagirl, she’s in the feature for roughly five minutes. What “We Can Be Heroes” really becomes is an opportunity for writer/director Robert Rodriguez to return to his childlike filmmaking POV after years away from family entertainment, putting him in charge of a CGI-intensive riff on “The Avengers,” only starring a group of pre-teen superheroes. Unlike “The Adventures of Sharkboy and Lavagirl,” the new movie is actually entertaining, with Rodriguez unsteady when it comes to portioning out action sequences, but he’s much less infantile this time around, returning to his “Spy Kids” (just the first picture) roots with a lively wish-fulfillment fantasy for young viewers. Read the rest at Blu-ray.com

The superhero Wonder Woman received her first big screen vehicle in 2017, with director Patty Jenkins delivering a satisfying but bottom-heavy endeavor, and one that transformed the character into a cinematic titan, ready to be explored in sequels. Three years later, and “Wonder Woman 1984” has arrived to scratch the itch for more things Diana Prince, with Jenkins returning to helm a second solo adventure for the truth-seeking warrior. As with most follow-ups to major hits, the producers are a little terrified to do anything different, and they fall for a common comic book movie trap by offering two villains for the protagonist to battle over a whopping 150-minute-long run time. Wonder Woman isn’t really the focus of “Wonder Woman 1984,” which is a shame, but Jenkins gets a chance to create a few incredible action sequences while the screenplay figures out how to juggle three major subplots. Read the rest at Blu-ray.com

While Pixar Animation productions tend to earn high praise with almost every release, it’s the work of director Pete Doctor that’s been the consistent standout for the company. The driving force behind “Inside Out,” “Up,” and “Monsters, Inc.,” Docter has repeatedly pushed Pixar into different creative directions, generating exciting, hilarious, and profoundly emotional movies along the way. His latest is “Soul,” which at first glance might appear to be an “Inside Out” riff, returning to the world of human beings and their struggling inner lives. While the features share some similarities in tone and theme, “Soul” aims for the bigger picture, with Docter and his team crafting a film about the gift of life and how the joys of existence are often drowned out by the drive to find purpose. Once again, the helmer has found a way to explore daily existence with animated buoyancy, and while the endeavor takes a strange detour at the midway point, Docter remains attentive to his message of appreciation. Read the rest at Blu-ray.com

After turning a profit with their low-budget offering from 2019, “The Intruder,” director Deon Taylor and screenwriter David Loughery have teamed up again for other generic offering in “Fatale.” These guys don’t enjoy pushing themselves when it comes to a creative approach to thriller cinema, and while “The Intruder” didn’t do anything with its crazy-stalker-on-the-loose premise, “Fatale” does even less with its take on “Fatal Attraction” formula. A growing sense of unease never arrives in the picture, examining one adulterer’s fight to keep his one-night stand from ruining his life, with Loughery coming up short on ideas for suspense sequences and troubling confrontations. Taylor is basically asleep behind the camera, giving the endeavor a Lifetime Movie vibe with flat performances and no particular sense of style. Read the rest at Blu-ray.com