“The Luckiest Man in America” dramatizes the story of Michael Larson, who, in 1984, was a contestant on the television game show, “Press Your Luck.” Larson managed to win over $100,000 from the program after recognizing game board patterns, using this knowledge to avoid all the “whammies,” causing a commotion behind-the-scenes of the show as producers faced a tremendous financial loss. Writers Maggie Briggs and Samir Oliveros (who also directs) don’t go to extremes to turn a relatively simple tale into a cinematic event, largely remaining in the studio during the taping of the program to best examine psychological struggles happening in the room. “The Luckiest Man in America” is an interesting look at a fractured human putting himself in an extraordinary situation, and the screenplay manages to get fairly far with various complications and confrontations found during the event, helping to rework a bizarre bit of TV history. Read the rest at Blu-ray.com

For most people, the name William Tell conjures images of a crossbow accuracy contest involving a human target with an apple placed on their head. Perhaps there are even memories of “The Lone Ranger” and its use of Gioachino Rossini’s “William Tell Overture” as its main theme, successfully bending the tone of the original work to fit a wild west setting. Writer/director Nick Hamm is looking to restore the tale’s integrity with “William Tell,” endeavoring to give an 1804 play (by Friedrich Schiller) the “Braveheart” treatment, out to conjure a big screen epic featuring numerous characters and various motivations. It’s a big movie, but only in certain moments, and Hamm isn’t an inspired helmer (“The Hole,” “Godsend,” “Killing Bono”), out to transform European tensions into a Shakespearean viewing experience, creating a sluggish offering of heroism. “William Tell” might be of value to those most patient with historical actioners, but casual viewers probably won’t walk away with any fresh appreciation of the man and his mission. Read the rest at Blu-ray.com

In 2014, Disney produced an adaptation of the 1972 Judith Viorst book, “Alexander and the Terrible, Horrible, No Good, Very Bad Day.” It wasn’t a slavish replication of the literary treasure, but the production found ways to maintain the idea of the writing while bringing it into a new age of family entertainment. The picture was a big time charmer, but a sequel was never launched. A decade later, Disney tries again with “Alexander and the Terrible, Horrible. No Good, Very Bad Road Trip,” which generates a new family who must endure all kinds of mishaps and torment while trying to get through a simple week of travel. While not as endearing as the previous effort, the new take has its appeal thanks to a spirited cast and plenty of disasters, also exploring Mexican heritage to give the offering its own personality. Read the rest at Blu-ray.com

Director Jaume Collet-Serra is primarily known for creating pulse-pounding thrillers. He’s built an entire career making this stuff, recently coming off the monster streaming success of last year's “Carry-On,” which helped to boost his professional profile when it took a bit of a dive after the release of 2022’s “Black Adam.” Collet-Serra is now challenged to make something exciting out the small portions of story found in “The Woman in the Yard,” which is scripted by Sam Stefanak. It’s a modest tale of threat and mental health issues coming for a mother trying to protect her children from an undefined menace, and the whole experience remains in and around a single farmhouse for the 85-minute-long run time. “The Woman in the Yard” is being promoted as a fright film, and Collet-Serra certainly tries to work a few jolts into the flow of the offering, but the material is mostly about degrees of pain and regret, and while Stefanak attempts to get to the heart of his characters, he really doesn’t have much of a movie here. Read the rest at Blu-ray.com

Nicole Kidman certainly loves to play repressed women, preferably sexually so. “Holland” is her third role in less than a year (following “Babygirl” and “A Family Affair”) where she portrays a character being unlocked by a special, forbidden partner, responding to the thrill of danger and exposure to previously unrealized pleasures. It’s a bit of a career rut for the actress, but she remains lively and exploratory in the films, including “Holland,” which provides Kidman with a broader personality to play, as screenwriter Andrew Sodroski looks to the “Fargo” universe to inspire a tale of suspicion and lust, trying to blend exaggeration with suburban horrors. Director Mimi Cave (who impressed with 2022’s “Fresh”) offers style, but not much substance, struggling to keep a leaden story afloat, unable to make something exciting out of the usual in thriller cinema. The picture has moments of passably interesting oddity, but the overall offering is slack, and the ending is completely unsatisfying. Read the rest at Blu-ray.com

Little was expected of 2024’s “The Beekeeper,” which paired director David Ayer (known for his messy, adrenalized action movies) and star Jason Statham (known for his steely screen presence). It was a January release that managed to find an audience, bringing in people in the mood for a revenge picture that was big on exaggeration and absurdity, hitting the right spot for certain viewers. Just over a year later, Ayer and Statham are back with “A Working Man,” which is an adaptation of a 2014 Chuck Dixon book, introducing readers to the one-man-army methodology of Levon Cade and his particular set of skills. The adaptation is handled by Ayer and co-writer Sylvester Stallone, who are fully committed to repeating “The Beekeeper” experience, once again keeping Statham growly and the helmer in overkill mode, mounting another tale of rage that’s every bit as moronic as their previous collaboration. Read the rest at Blu-ray.com

We just did this. Last month saw the release of “Popeye’s Revenge,” which was the first production to take advantage of the public domain debut of the comic strip character. The endeavor was awful, made quickly and on the cheap, finding the filmmakers trying to follow the profitable ways of “Winnie-the-Pooh: Blood and Honey” by making a quickie offering of bottom shelf nonsense. Well, Popeye is back, and he’s on a mission to take lives once again in “Popeye: The Slayer Man,” which is also a low-budget slasher sticking to the formula all these movies contain, once again following curious youngsters into a remote area while a mysterious monster works to pick them off one-by-one. Director Robert Michael Ryan doesn’t have enough money or imagination to make this silliness frightening, or even entertaining, as too much of “Popeye: The Slayer Man” is dull, poorly scripted, and lacking energy when it comes to the destruction of victims. Read the rest at Blu-ray.com

Unicorns. Usually, they’re a force of goodness, or magic. Possibly rainbow power. “Death of a Unicorn” attempts to alter the reputation of the fantasy creatures, turning them into ornery beasts with a taste for blood. Such violence is warranted in the picture, as writer/director Alex Scharfman (making his helming debut) creates plenty of ruthless human behavior to explore, merging the mental illness of greed with a most unexpected discovery in the Canadian wilderness. The writing gets off to a wonderful start, managing distinct characterization and intensifying demands of unicorn energy, setting up something special in a clash between the rich and the horned. “Death of a Unicorn” doesn’t maintain such inspiration for the full viewing experience, but it covers enough of it with a demented sense of humor and lively performances, helping to give the material a little more dramatic weight than many might expect from an offering that initially seems somewhat ridiculous. Read the rest at Blu-ray.com

“Inspired by real events,” “The Penguin Lessons” dramatizes the story of educator Tom Michell and his unusual experience in Argentina, where, in 1976, he found a penguin in distress. He managed to clean it up and nurse it back to health, only to find the creature wasn’t interested in leaving his side. The complications of this relationship are perfectly set up for comedy and heartwarming events, and those do occur in the movie. However, “The Penguin Lessons” tries to be a little more than simple comfort food cinema, as the tale also takes place during a military coup in the country, greatly complicating relationships in the story, scripted by Jeff Pope (“The Lost King,” “Philomena,” “Stan & Ollie). The film carries an uneven tonality at times, as director Peter Cattaneo (“The Full Monty,” “The Rocker”) battles to balance material that’s periodically all over the place, but the feature stays engaging, hitting beats of sweetness and sadness. And star Steve Coogan finds a few layers of character to play to prevent the picture from becoming a Disney-style examination of an unlikely friendship. Read the rest at Blu-ray.com

In 1999, director Milos Forman attempted to replicate the Andy Kaufman Experience in “Man on the Moon,” and Jim Carrey set out to fully inhabit the comedian, trying to communicate a strange life to a mass audience. The movie didn’t attract too much attention at the box office, and it came up short when attempting to understand what made Kaufman tick, which, admittedly, is no small feat. “Thank You Very Much” is a documentary from Alex Braverman (“Waffles + Mochi,” “The Mind of a Chef”), and he’s much more direct in his pursuit of whatever truth there is to pull from Kaufman’s legacy. “Thank You Very Much” is a refreshingly insightful look at the performer’s creative origins and connections, giving fans and newcomers a greater understanding of his professional and personal drive to be a bizarre as humanly possible. Kaufman-y shenanigans aren’t present here, as Braverman dares to add a human side to the subjects clouded ways, making for a fascinating viewing experience. Read the rest at Blu-ray.com

Director Barry Levinson has been in a career freefall for quite some time, possibly dating back to 1998’s “Sphere” if you want to be completely ruthless about it (weirdly, he’s done his best work on cable productions). And yet, he continues to find employment, often on movies few people see, including 2015’s “Rock the Kasbah” and 2021’s “The Survivor.” Levinson returns once again with “The Alto Knights,” out to craft a very Martin Scorsese-esque tale of aging gangsters with help from “Goodfellas,” “Casino,” and “The Irishman” screenwriter Nicholas Pileggi, and one that’s not shy to rehash elements from those pictures. “The Alto Knights” hopes to be another epic of crime bosses and their anxieties, putting Pileggi back to work cooking up allegiances and double-crosses, shoveling in all the wise guy conversations he possibly can, likely reaching a level of torture for some viewers. Levinson has been here before, dealing with period ornamentation (“Diner,” “Tin Men,” “Avalon”) and gangster cinema (“Bugsy”), but he has little control over this offering, which is too meandering to matter, unable to find any peaks of drama as it stumbles from one scene to the next. Read the rest at Blu-ray.com

Just four months ago, Tyler Perry tried for some award season glory and dramatic resonance with “The Six Triple Eight,” a World War II story meant to celebrate an important achievement in history. The picture managed to score a single Academy Award nomination, but the movie wasn’t far from the usual in Perry’s oeuvre of melodramatic, simplistic offerings. He’s right back to his old ways in “Duplicity,” an especially budget-conscious mystery that’s daring to blend the crisis issue of police shootings with relationship troubles facing overly combative characters. Perry’s back in soap opera mode in the endeavor, giving the effort a healthy dose of ridiculousness to keep viewers interested. And he’s especially sloppy assembling the details of the feature, skipping critical questions of evidence and characterization to plow ahead as a tedious detective story with an absurd payoff. Read the rest at Blu-ray.com