“My Big Fat Greek Wedding” was the sleeper hit of 2002, emerging from out of nowhere to become the fifth highest grossing feature of the year (sandwiched between “Harry Potter and the Chamber of Secrets” and “Signs”). Expectations for a sequel were immediate, but writer/star Nia Vardalos chased a television dream with 2003’s “My Big Fat Greek Life,” which effectively killed the brand name. 14 years later, Vardalos returns with “My Big Fat Greek Wedding 2,” attempting to recapture the vibrant cultural energy that fueled the original effort. While the story takes a leap in time, the jokes do not, finding much of the follow-up struggling to land punchlines and massage character quirk. While amiable, “My Big Fat Greek Wedding 2” is dull and overscripted, watching Vardalos spin too many plates as she strives to give everyone something to do. Read the rest at Blu-ray.com

Compelling ideas on the entitled nature of millennials and the instability of long-term employment are explored in “Get a Job,” competing for screen time with scenes that feature a urine sample gone wrong and a character forced to drink a glass of deer semen in front of his co-workers. Iffy helmer Dylan Kidd (“Roger Dodger,” “P.S.”) tries to cushion hard truths about life with gross-out and marijuana humor, working diligently to dumb the picture down as far as it can go. It’s a shame, but perhaps “Get a Job” was never destined for greatness, with the picture finally seeing the light of day after completing production four years ago. After a viewing, it’s obvious why the producers lost interest in releasing it. Read the rest at Blu-ray.com

While the potential for mockery is ripe, “Marguerite” would rather understand its blissfully unaware lead character, working to achieve a larger portrait of charity when confronted with an absence of talent. Writer/director Xavier Giannoli (“Superstar,” “In the Beginning”) generates a mildly comic tone to some of the picture, but he remains largely respectful of emotions and awareness, trying to shave down the absurdity that drives the plot of “Marguerite” with welcome sensitivity and three-dimensional personalities. A little consideration helps the movie achieve its dramatic goals, allowing the audience to grasp all the necessary displays of humiliation that pepper the feature and still come away with a sense of warmth and askew devotion. It’s an impressive juggling act from Giannoli. Read the rest at Blu-ray.com

2013’s “Man of Steel” was the warning shot. Director Zack Snyder takes citywide destruction and wonky superhero world-building to the next level with “Batman v. Superman: Dawn of Justice,” manufacturing a DC Comics answer to the ongoing work Marvel is doing to construct their seemingly bulletproof cinematic universe. Snyder isn’t aware that nuance is an option, looking to create the biggest, baddest event film possible while pouring the foundation for assorted superhuman characters to come. Even with a 150 minute run time, “Batman v. Superman” feels claustrophobic and needy, with the helmer digging into his shallow bag of tricks to bring two iconic characters to life. Instead of servicing patient storytelling, Snyder gets lost in his own limited ambition, frequently relying on his love for noise and numbing violence to make sense of a poorly written, acted, and edited effort. Read the rest at Blu-ray.com

Considering his pop culture dominance, it’s strange to consider that the character Pee-wee Herman has only starred in two pictures, with the last, 1988’s “Big Top Pee-wee,” a tremendous financial and creative disappointment. Looking to restore a little mojo after decades away from the screen, actor Paul Reubens slips back into his old extra-small suit and refreshes his geeky mannerisms to revive Pee-wee for a new generation. “Pee-wee’s Big Holiday” is certainly a pleasant production, giving the fanbase what they want through numerous set pieces highlighting Reubens’s special way with slapstick. Those expecting another “Pee-wee’s Big Adventure” are sure to be disappointed with this effort, as Reubens and co-writer Paul Rust dial down idiosyncrasy, keeping “Pee-wee’s Big Holiday” friendly, but rarely surprising. Read the rest at Blu-ray.com

When depicting the wreckage of substance abuse, a majority of movies tend to go the melodramatic route, flailing wildly to project a level of chaos normally associated with self-harm and chemical disorientation. “Krisha” is the rare feature to understand the insidious nature of addiction, playing it relatively calm and collected while gradually introducing an unsettling level of darkness, earning climatic explosions of accusatory behavior. A no-budget production that’s skillfully controlled by writer/director Trey Edward Shults, “Krisha” is harrowing work, diving into the abyss of dysfunction with stunning intimacy and creative confidence from the first-time helmer. Read the rest at Blu-ray.com

The last ten years have been a strange creative period for director Atom Egoyan. Once the darling of independent cinema, Egoyan has spent the last decade gasping for oxygen, stumbling through unfortunate efforts such as “Devil’s Knot” and “Where the Truth Lies,” effectively erasing his brand name with cineastes. “Remember” isn’t a return to form for Egoyan, but it’s a step in the right direction, taking on a provocative story of memory and murder that plays with thriller elements effectively. Mistakes in tone and scripting eventually work to trip the feature up, but “Remember” has its share of riveting moments, buttressing an atmosphere of unease that’s alien to Egoyan’s recent work. Read the rest at Blu-ray.com

Two years ago, “Divergent” entered the YA novel adaptation sweepstakes with hopes to tap into post-apocalyptic vibe of “The Hunger Games” to fuel its own box office success. Instead of dominating the competition, the series was merely accepted by a fanbase loyal to original author Veronica Roth, failing to reach pop culture ubiquity. The 2015 sequel, “Insurgent,” achieved the same level of mediocrity, with the production generally ignoring hindsight to mix up the same batch of blah filmmaking. With “Allegiant,” “The Divergent Series” finally threatens closure, but it’s not going without a fight. The first half of a two-part finale, “Allegiant” tries to razzle-dazzle with an increase in visual effects and supporting characters, but a distinct lack of suspense remains, paralyzing a chapter essentially designed to explain working parts while the next feature (2017’s “Ascendant”) is supposed to be the big payoff. Read the rest at Blu-ray.com

When 2014’s “Heaven is for Real” struck gold at the box office, it was only a matter of time before similar faith-based productions would follow. “Miracles from Heaven” utilizes the same questioning of a higher power formula to tell a story that concerns the elasticity of belief as it’s tested through unresponsiveness and the sheer weight of tragedy. Director Patricia Riggen (“The 33”) treats the iffy material with professional polish, making sure every scene of heartbreak extracts tears, while Godly mysteries are cared for through determined performances. But the actual dissection of miracles on Earth? It’s a bit of a gray area for “Miracles from Heaven,” which would rather stroll around the unknowable instead of actively pursuing careful examination. Read the rest at Blu-ray.com

“The Little Prince” is no stranger to film and television adaptations. A beloved 1943 novella by Antoine de Saint-Exupery, the material is frequently returned to for generational reinforcement, with productions striving to capture the lyrical fantasy of the original text, hoping to inspire the imagination of audiences young and old. For this incarnation, director Mark Osborne (“Kung Fu Panda”) turns to animation to help fill out his vision, mixing styles and complicated emotionality to bring the original work to life. While “The Little Prince” periodically threatens to become another assembly line CGI-animated endeavor, artistry and sensitivity win out in the end, while an all-star voice cast gives the feature a big boost in personality. Read the rest at Blu-ray.com