Barry Sonnenfeld hasn’t enjoyed the most consistent directorial career, but there’s always been a level of dignity even with his unbearable duds. Somehow, the he manages out out-stink his 1999 disaster “Wild Wild West” with “Nine Lives,” which not only represents a career low point for the helmer, but for everyone involved. Brought to screens by Luc Besson’s action factory Europa Corp., “Nine Lives” is a misguided attempt to pad the financial year with a family comedy about a human trapped inside a cat’s body. Those expecting cat video-style antics and syrupy domestic worries are going to be disappointed, as the production is more interested in attempted murder schemes and feline urination, putting in the least amount of effort imaginable. Perhaps Sonnenfeld is in serious trouble with the underworld, or maybe he’s been kidnapped by Frenchmen, forced to manage one of the worst movies of 2016. Guys, I’m starting to worry. Read the rest at Blu-ray.com

It’s hard not to feel a little depressed about the state of the R-rated comedy. Instead of using the restrictive rating to engage in adult situations with a sharper sense of humor, most filmmakers would rather take the easy route, going for gross-outs and dim, profanity-laden improvisation to secure laughs. “Amateur Night” is the latest example of silliness soured by bad ideas, finding writer/directors Lisa Addario and Joe Syracuse (who previously scripted the moronic “Parental Guidance”) working to generate a madcap tone of disasters and near-misses for their feature, only to depend on cheap jokes to snap the viewer out of slumber. “Amateur Night” isn’t wild or funny. It would rather spray its characters with vaginal fluid than dream up a killer punchline. Read the rest at Blu-ray.com

Establishing the DC Cinematic Universe with last spring’s “Batman v. Superman: Dawn of Justice,” the company appeared ready to build on the expansive introduction, utilizing the myriad of characters that populated the Zack Snyder extravaganza. Instead of sequels and spin-offs (those come next year), the DCU takes a brief detour with “Suicide Squad,” looking to have a little fun with its rogues gallery before the brand gets down to business. Writer/director David Ayer (“Sabotage,” “Fury”) cherry picks obscure and cult villains to fill out this askew men-on-a-mission feature, but darkly comic delights and superhero cinema thrills are in short supply, as much of the movie is far too leaden and devoid of personality to leave a lasting mark. “Suicide Squad” is being sold as a wild romp, but the actual picture is quite tame and glacial, watching Ayer get lost quickly as he sorts out motivations, histories, and priorities with his half-realized gang of painted and tangled misfits. Read the rest at Blu-ray.com

When Hollywood attempts to bring author Philip Roth to the screen, much is usually missing in the translation. Recent years have delivered “The Human Stain” and “Elegy,” but it’s “Indignation” that truly balances the nuances of literature with the intimacy of film. It’s directed by James Schamus, who’s making his helming debut after decades of producing and studio leadership accomplishments, including guardianship of “Brokeback Mountain,” while his writing credits include “The Ice Storm” and “Crouching Tiger, Hidden Dragon.” It’s amazing that it has taken this long for Schamus to move behind the camera, but the reward is “Indignation,” which handles with exquisite patience and craftsmanship, locating all the Roth-ian ills of the world without sacrificing pure storytelling and a mesmerizing concentration on blistering confrontation. Read the rest at Blu-ray.com

For his second directorial endeavor, comedian Mike Birbiglia returns the world of funny business he explored in 2012’s “Sleepwalk with Me,” this time shining a spotlight on the realm of improvisation and the neuroses involved with such a taxing performance art. Stepping away from autobiographical touches, Birbiglia (who also scripts) sets out to create a dramedy about intimacy and competition, but the plot sometimes gets in the way of pure behavior, which “Don’t Think Twice” captures with outstanding realism. The scratchy rub between acting and feeling is inspected to satisfaction in the picture, which highlights Birbiglia’s comfort with actors and his knowledge of denial. While his vision is blurred at times, “Don’t Think Twice” is accomplished work, clearly identifying the helmer’s creative growth. Read the rest at Blu-ray.com

“Five Nights in Maine” is reserved for viewers who can appreciate the fine art of the gut-wrenching drama. It’s tough stuff, masterminded by writer/director Maris Curran, who takes a messy look at the stages of grief and troubled communication, giving actor David Oyelowo and Dianne Wiest plenty of space to figure out how to play charged reactions. It’s an interestingly spare effort trying to find a spot in today’s flashy movie marketplace, demanding patience from the audience as it gradually reaches a mournful purging, but Curran does stick the landing, rewarding those curious enough to study broken people in exploratory mode with an exceptionally acted, smarty scripted drama that packs a wallop. Read the rest at Blu-ray.com

It was never going to be easy for John F. Kennedy Jr. The son of a beloved American president, and one who died in such a grisly manner, JFK Jr. was saddled with global expectations just before he turned three years old, destined to live a life of intense scrutiny and privilege as part of the country’s royal family. “I Am JFK Jr.” is a documentary that looks at the life and time of John F. Kennedy Jr., with director Derik Murray granted access to home movies and photographs, along with close friends and associates, trying to sharpen focus on a man who lived his life in the public eye, trying to make the most of a strange situation of notoriety and destiny. Read the rest at Blu-ray.com

There’s a new generation of psychological horror filmmakers coming into view who all favor the same elements of movie construction. There has to be colorless, flavorless digital cinematography. Gorging on natural light is a must. A synth score must groan throughout the feature, surging with shapelessness when tensions rise. And performances aren’t achieved through acting, but editing, with directorial influence more important to the production. “Sun Choke” plays many of the same indie cinema cards as it builds a tale of nightmarish control and splintered reality, with writer/director Ben Cresciman more enamored with the visual edge of the picture than its potential as a chiller. Read the rest at Blu-ray.com

Making an industry splash with the screenplay for “The Hangover,” writers Jon Lucas and Scott Moore strive to raise a similar type of hell with “Bad Moms,” trying to offer a female audience their own style of raunchy comedy. The idea is fun, and the trials of motherhood provide endless inspiration for punchlines, but “Bad Moms” doesn’t want to put in the effort. A dismal offering of R-rated shenanigans, the feature almost makes to the end without a single laugh, with Moore and Lucas relying on their established brand of lowbrow comedy to skate by. Miscast and frequently insufferable, the picture only stands up straight when dealing with the daily routine of parenting and all the anxieties it triggers. The rest is just numbing stupidity, unsure if it wants to indulge wish fulfillment in full or take its loopy characters seriously. Read the rest at Blu-ray.com