It’s probably best to pay attention to the Martin Scorsese executive producer credit on “The Wannabe.” Why Scorsese is supporting the picture isn’t known, but few of the ideas contained in Nick Sandow’s screenplay are familiar, including hero worship involving members of organized crime and obsessive drug consumption leading to manic episodes of destructive behavior. Indeed, “The Wannabe” plays like second cousin to “Goodfellas” at times, but even a little homage can’t salvage a wholly unpleasant and meandering viewing experience. Sandow’s intent is to explore a confused mind, but he emerges with 90 minutes of pointless confrontations and softball acting, leaving little story to chew on. Read the rest at Blu-ray.com

In 2007, writer/director Michael Dougherty set out to redefine Halloween horror with “Trick ‘r Treat,” a clever anthology effort that emphasized eeriness over pounding terror. For his follow-up, the helmer aims to shake up another holiday with “Krampus,” a Christmas-set chiller that’s trying to scare during the season of giving. Again avoiding cheap thrills, Dougherty creates an entertaining monster mash with the picture, which blends yuletide sensitivities involving dysfunctional families and the wrath of ghoulish creatures. Strangely, the production doesn’t aim to create a roller coaster ride of oddity, preferring to step carefully with its genre offerings, leaving the endeavor feeling slack at crucial moments, but it’s still satisfying overall. Read the rest at Blu-ray.com

Comparisons to “Bad Santa” will undoubtedly be made repeatedly, but “Uncle Nick” isn’t as conventional as the inexplicably enduring Billy Bob Thornton comedy. Arriving at the holiday season with plans to dissect a dysfunctional family at their very worst, director Chris Kasick and writer Mike Demski (both veterans of “Attack of the Show”) cook up a sharp, sarcastic effort that celebrates the wonderfully deadpan delivery of star Brian Posehn, using the comedian’s elongated way with an uncomfortable moment to give “Uncle Nick” the proper amount of bitterness to help support this domestic unraveling. Hilarious and profoundly dark, the feature is an interesting counterpoint to holiday cheer, offering an engaging lump of coal for those who prefer their Christmas thoroughly soiled by bad behavior. Read the rest at Blu-ray.com

The director of “The Great Beauty” and “This Must Be the Place,” Paolo Sorrentino returns to screens with “Youth.” Stepping further into English-language filmmaking, the helmer arrives with a star-studded cast to realize this meditation on aging and experience, with Michael Caine, Harvey Keitel, Jane Fonda, and Rachel Weisz turning in capable work to best bring out the flavors of Sorrentino’s screenplay. Idiosyncrasies do remain in “Youth,” and the picture tends to value atmosphere over dramatics. It can be a struggle to figure out what Sorrentino wants from his feature, but when all else fails the effort, the ensemble is there to provide a passable sense of focus, creating memorable scenes of introspection. Read the rest at Blu-ray.com

“MI-5” isn’t just a run-of-the-mill spy thriller, but a big screen spinoff of “Spooks,” a British television series that found a home in America on deep cable. While the title is generic and the plot promises the basics in paranoia cinema, “MI-5” (titled “Spooks: The Greater Good” around the world) actually comes through with surprising clarity, finding pockets of suspense even while it samples material found in dozens of small screen productions. Credit director Bharat Nalluri (“Miss Pettigrew Lives for a Day”), who keeps the picture alert and on the move, confronting the familiarity of it all with commitment to speed and a general awareness that while his effort isn’t going to look like a blockbuster, it can periodically play like one. Read the rest at Blu-ray.com

“The Wonders” is a special creation that demands a certain level of patience with its winding, almost directionless storytelling. There are many subplots and feelings to explore, but its primary focus remains on a coming-of-age tale concerning a teen girl in the midst of an adolescent awakening while living in a painfully remote part of the world. “The Wonders” is shapeless, but it has meaning and sensitivity, better with moments of contemplation and familial interaction than it is with a larger depiction of dysfunction. Read the rest at Blu-ray.com

Laurie Anderson is a performance artist and a musician, nurturing an impressive four-decade-long career of artistic endeavors. She’s a spiky-haired avant-garde original who lives to disrupt expectations, with her latest work, “Heart of a Dog,” one of her most baffling. While it appears on the outside to be an appreciation of animal companionship, finding Anderson in a sentimental mood, “Heart of a Dog” immediately sheds expectations to become something more in step with the performer’s appetite for the surreal. It’s certainly emotional at times, but the feature is primarily a sensorial immersion into life, death, and all the strangeness the makes up the post-9/11 human experience, with Anderson deploying animation, home movies, and abstract footage to carry viewers into the warm waters of the unknown. Read the rest at Blu-ray.com

In 1990, the story of Reggie and Ronnie Kray, the twin gangsters of 1960s London, was explored in “The Krays,” which starred Gary and Martin Kemp, from the band Spandau Ballet. Acting efforts are substantially accelerated in “Legend,” which does away with twinning to focus on star Tom Hardy, who portrays both Reggie and Ronnie in a bruisingly seductive manner only he can pull off. Casting works wonderfully, but “Legend” is an extremely difficult movie. Imagining the Krays as a bottomless pool of interesting behaviors and impulses, the feature doesn’t make much sense of their criminal reign, cherry picking the highlights of their madness without establish context, making the picture feel frustratingly incomplete. Read the rest at Blu-ray.com

In 2006, Sylvester Stallone pulled off the impossible. With “Rocky Balboa,” the screen icon revived a dying franchise with a sincere final chapter, aging his most famous character gracefully, adding some necessary lumps to the boxing champion with a picture that returned Rocky to his roots. Of course, there’s trepidation with “Creed,” which arrives nearly a decade after Rocky enjoyed a respectful send-off. And yet, under the care of co-writer/director Ryan Coogler (“Fruitvale Station”), the brand name returns to glory, albeit under a different boxer’s name. Against all odds, “Creed” emerges as a powerhouse continuation of Stallone’s creation, carrying all the fire and emotion of the original 1976 movie while reworking irresistible formula for a new generation of underdog cinema. Read the rest at Blu-ray.com

For the first time in their history, Pixar Animation is releasing two films during a single calendar year. “Inside Out” was the first one out of the gate, unleashed last June to universal critical acclaim and blockbuster box office, making it third highest grossing effort from the company, reestablishing its creative and financial dominance after taking 2014 off. “The Good Dinosaur” is the quick follow-up, and it’s a simpler, more traditional tale of adventure and maturation, moving away from the sophisticated emotionality and world-building of “Inside Out.” While it plays on a more recognizable level of engagement, “The Good Dinosaur” still manages to showcase Pixar pride, sustaining their reputation for quality entertainment as it careens from sensitivity to surprisingly dark elements of antagonism, displaying a little more menace than the title suggests. Read the rest at Blu-ray.com