“Stuber” is a film stuck between two time periods. It deals with the modern rideshare business, where customers are usually awful human beings and drivers live for 5-star reviews, and the cast is populated with young comedians who’ve been trained to mindlessly riff, not necessarily sell a punchline. The rest of the picture plays like an action comedy movie from the 1980s, with hard violence supporting a buddy cop premise, giving the feature peaks of dangerous encounters. “Stuber” doesn’t have an idea what it ultimately wants to be, instead electing to be everything, which doesn’t inspire a snowballing viewing experience. It’s lively at times, but never sure of itself, while screenwriter Tripper Clancy always turns to formula when he’s backed into a corner, somehow under the impression viewers want to feel for these characters, not simply watch them unearth continuous trouble while crossing Los Angeles. Read the rest at Blu-ray.com 

There’s a lesson to be learned from “Killers Anonymous.” Its marketing boasts the participation of Gary Oldman and Jessica Alba, pushing the stars up front to secure some attention that wouldn’t be otherwise afforded to the low-budget endeavor. Predictably, Alba’s barely in the effort, while nearly all of Oldman’s screentime finds the Oscar-winner in a seated position, looking through binoculars. It’s a common deception, especially with B-movies, which need something to lure innocent viewers in, especially fans of the actors hoping to keep up with filmographies. It would be grand if there was something more to “Killers Anonymous” that’s worth paying attention to, but director Martin Owen doesn’t have a prize for those willing to sit through the picture. He loads up on colored lighting and scattered violence, but the feature is actually a series of audition pieces, not a cohesive thriller, and it’s an absolute chore to sit through. Read the rest at Blu-ray.com

After spending the last few decades playing uptight guys in mild comedies, Greg Kinnear has finally decided to become a director, putting himself in charge of “Phil,” also nabbing the lead role. One would think that with such creative authority, Kinnear might be interested in attempting something different, permitting himself to stretch as a performer. That doesn’t happen in the picture, but there is a level of darkness to “Phil” that’s mildly intriguing, as the story deals with the aftermath of a suicide and the plate-spinning panic of deception, only most of the screenplay by Stephen Mazur (“Jingle All the Way 2,” “Benchwarmers 2: Breaking Balls”) goes for jokes, attempting to whip up silly business to make sure the movie reaches the widest possible audience. It’s not without some charms, but the effort doesn’t ring with invention, as Kinnear plays it all too safe to protect himself. Read the rest at Blu-ray.com

It seems like Bill Wyman is ready to speak. For 31 years, Wyman played bass for The Rolling Stones, garnering a reputation for being the “silent Stone,” unable or unwilling to share himself with the press and public, permitting his bandmates to take the spotlight, which they happily did. Now in his eighties, Wyman is in a retrospective mood, giving director Oliver Murray access to his vast archive of personal items, including an enormous year-by-year assembly of Rolling Stones photos, film, and memorabilia. While he was always the guy hanging in the back of the stage helping to keep the rhythm, “The Quiet One” hopes to offer more insight into Wyman as an average man with keen interest in the art of collecting, also tracing his years in one of the biggest bands in the world, doing his best to downplay rock god-ery. Read the rest at Blu-ray.com

Perhaps hunting for a ripe acting challenge, actresses Kate Mara and Ellen Page co-produce “My Days of Mercy,” helping to bring difficult material to the screen. There so much here for the talent to dig into, with Joe Barton’s screenplay touching on the death penalty, forbidden love, and family ties, giving the leads a chance to feel around for emotional purgings as they strive to stretch as performers. It’s mission accomplished for the most part, as “My Days of Mercy” has a severe tone that welcomes nuanced performances and troubling turns of fate. There’s a message about the reality of the death row experience, and a potent one, but the feature is mostly about watching Page and Mara manage dramatics, trying to make potentially one-dimensional characters into living, breathing human beings. They’re successful, even when the movie isn’t. Read the rest at Blu-ray.com

25 years ago, Jean Reno starred in “The Professional.” It’s an odd film, but also an excellent one, using the star’s comfort with silent reaction to create a fully European action event that paid close attention to character. Today, Reno participates in “Cold Blood,” a low-budget thriller that’s not all that interested in providing thrills, once again putting the French actor in the role of a muted force of violence, stuck in a dangerous situation with a younger woman. It’s no “Professional” sequel, but writer/director Frederic Petitjean tries to pretend he’s making the new adventures of Leon with the effort, delivering Reno in enforcer mode, only there isn’t a script or a sense of style to back up his wavering commitment to the project. Read the rest at Blu-ray.com

2017’s “Spider-Man: Homecoming” enjoyed the element of surprise. It was a reboot of a reboot, offered to audiences after two dull chapters with a different creative team. Nobody was expecting much from it, but director Jon Watts delivered a joyful, exciting, endearingly adolescent adventure that managed to make the Web-Slinger into a viable screen hero once again. While Peter Parker has been dealing with a few Avengers-related issues recently, he’s back on his own with “Spider-Man: Far from Home,” which has the unfortunate position of being both sequel to “Homecoming” and a continuation of April’s “Avengers: Endgame.” Watts returns to helming duty, and once again he knocks it out of the park, delivering a thrilling installment for the Marvel Cinematic Universe and Spider-Man fans, recapturing all the speed, teen anxiety, and comic book atmosphere that was previously established. Watts doesn’t try to top himself, he simply expands and enjoys the world he’s helped to create. Read the rest at Blu-ray.com

Bringing the music of The Beatles to the big screen isn’t a new idea. The band did it themselves on multiple occasions, and in 1978, there was “Sgt. Pepper’s Lonely Hearts Club Band,” which celebrated the amazing career of The Beatles by having George Burns and Steve Martin sing a few songs, while an entire sequence was devoted to the Bee Gees fist-fighting Aerosmith. Perhaps realizing such a sight is impossible to top, helmer Danny Boyle and screenwriter Richard Curtis head in a much softer direction with “Yesterday,” manufacturing a silly fantasy that’s eventually consumed by romantic comedy intentions. There’s plenty of Beatles in the feature, and some mild wackiness as well, but Boyle and Curtis aren’t in this to make audiences laugh. They want hearts, and the pair get awfully grabby when it comes to the plight of near-miss lovers and their extraordinary test of companionship, which frequently interrupts the potential for a promising farce. Read the rest at Blu-ray.com 

The biggest challenge facing the producers of “Escape Plan: The Extractors” is trying to get viewers to recall anything that happened in 2018’s “Escape Plan 2: Hades.” After finding some box office success in China, 2013’s “Escape Plan” was granted a pair of sequels, shot back-to-back. However, budgets were reduced or perhaps all the money was spent on getting Sylvester Stallone to return to the franchise, with his participation in the first sequel limited, keeping his work days short. Stallone has a larger role in the latest chapter, and there’s a new director in John Herzfeld (who previously worked with the actor in “Reach Me”), taking over for DTV machine, Steven C. Miller. While visual limitations remain, Herzfeld does more with the material than his predecessor, giving “Escape Plan: The Extractors” a pleasingly mean energy, stuffing the effort with violence and anger, even managing to pull off something that’s eluded the series up to this point: genuine surprise. Read the rest at Blu-ray.com

Horror loves the anthology movie. The format offers the genre a rare shot to be explored in short film form, giving writers and directors a chance to shave down superfluous additions meant to beef up run times, creating an opportunity to approach scary stories with the leanest edits and wildest imagination possible. Co-producer Mick Garris has been here before, overseeing the “Masters of Horror” television show from just over ten years ago, and he’s back with “Nightmare Cinema,” which brings together tales of finality from helmers who don’t normally receive a chance to cut loose with big screen frights. There are five chapters of dark comedy and blurred reality, and while every omnibus endeavor has its creative highs and lows, “Nightmare Cinema” is often stuck in neutral, prizing oddity to a point where the effort loses all momentum and mischief. Read the rest at Blu-ray.com

Last year, writer/director Ari Aster impressed horror fans with “Hereditary,” delivering an eerie meditation on loss mixed with demonic cult theatrics. I wasn’t as thrilled with the feature, finding its insistence on shock value more numbing than chilling, but Aster did manage to pull something special out of star Toni Collette, who delivered the best performance of her career. Aster returns a year later with “Midsommar,” and while he doesn’t have Collette by his side again, he does recycle many of his old tricks, heading once again into the deep end of atmosphere and ultraviolence, transferring the relative intimacy of “Hereditary” to the open land of Sweden with this “Wicker Man” riff that’s extremely long and terribly light with crucial psychological details. The gruesomeness returns, but in a more predictable manner, as Aster chooses to repeat himself to secure a burgeoning helming career. Read the rest at Blu-ray.com

What “Euphoria” provides is a new reason to pay attention to the acting talents of Alicia Vikander and Eva Green. While there’s nothing wrong with paychecks roles and interest in the Hollywood star-making machine, it’s been disappointing to watch the pair fight to survive dismal mass entertainment offerings such as “Tomb Raider” and “Dumbo,” with both pictures offering Vikander and Green more of a physical challenge than a dramatic one. “Euphoria” tries to realign some thespian chakras, giving the performers a thorough acting obstacle course as it takes on the messiness of sisterhood and the finality of euthanasia. It’s not the most enticing endeavor in the marketplace, but there’s profound feeling to discover, as writer/director Lisa Langseth doesn’t pull any punches with the material, retaining rawness and confusion as emotional breakthroughs are squeezed out of the characters. Read the rest at Blu-ray.com 

“Hamlet” is a 400-year-old play that’s been interpreted in many ways, with some taking great liberties with the source material, working to reconsider writer William Shakespeare’s original text and find ways to reach a different audience. That’s the thinking behind “Ophelia,” which revisits the events of “Hamlet,” only here a key supporting part into turned into the lead role, with Ophelia’s perspective intended to refocus concern on the female characters. It’s not exactly a daring undertaking, but the screenplay by Semi Chellas is trying to do something very specific, keeping things involving by altering Shakespeare’s plotting and sense of power in Elsinore Castle. “Ophelia” isn’t the most dynamic feature to be made with the concept, but director Claire McCarthy isn’t in this for the pace. She wants to make a beautiful picture about a misunderstood young woman, and with those goals in mind, the effort is satisfactory. Read the rest at Blu-ray.com

“Framing John DeLorean” emphasizes early on that Hollywood has spent decades trying to figure out a way to bring the titular icon’s story to the screen. And yet, with all these competing projects and various completed screenplays, nothing has come of it. Directors Don Argott and Sheena M. Joyce (“Batman & Bill”) step up to the plate with “Framing John DeLorean,” but the duo isn’t interested in a straightforward bio-pic of the automobile designer, electing to mix things up a bit by turning the production into a semi-documentary, blending informational stretches with dramatic recreations and behind-the-scenes activity during the shoot. It’s a bizarre cocktail of perspectives and realities, but not an unappealing endeavor, with the helmers using such unconventional storytelling to showcase an unconventional man, finding a fresh way to chart the rise and fall of John DeLorean. Read the rest at Blu-ray.com

2019 represents the 30th anniversary of the 1989 Whitbread Around the World Race, a yachting competition that was known for attracting the titans of the sport and the inclusion of the Maiden, the first all-female team to join the event. Being such a unique offering in the line-up, the Maiden attracted plenty of attention at the time, and now there’s “Maiden,” a documentary examining the development of the boat team and the determination of its troubled skipper, Tracy Edwards. Director Alex Holmes (“Stop at Nothing: The Lance Armstrong Story”) reunites the squad for an examination of the Maiden experience, presenting an overview of physical hardships and psychological weariness, but also plenty of uppercase sexism, with the male-dominated sport not exactly willing to give Edwards the respect she deserved. It’s a story of empowerment and achievement, but Holmes also tries to keep sporting suspense alive in “Maiden,” making the race and its punishing legs a major element of the feature. Read the rest at Blu-ray.com