A film career revival after a decade in politics hasn’t gone well for Arnold Schwarzenegger, who’s been trying to return to his previous glory with a few satisfactory action efforts, only to have the pictures disappear quickly from theaters. “Maggie” is a necessary change of pace for the global star, who drops overt brawn to portray a broken rural father facing the most difficult decision of his life. “Maggie” isn’t a sharply paced feature, with director Henry Hobson taking his time to develop mood and remind viewers of the sacrifices contained in the story. Adjust expectations accordingly, and the movie has moments of real heartbreak, turning what appears to be a traditional zombie exploration into an intimate study of paternal devotion. Read the rest at Blu-ray.com

“The D Train” is a very strange movie, but in a positive way. It’s the debut for writer/directors Jarrad Paul and Andrew Mogel, who use their first shot fired to create a feature that’s surprising, uncomfortable, and periodically hilarious, making sure obvious directions are refused along the way. Tonality isn’t achieved in full, finding the picture unsure what it wants the audience to feel at certain times, but “The D Train” manages to secure a strangeness that encourages unpredictability, while the cast makes a concerted effort to support Paul and Mogel and their plans to marry laughs with serious acts of personal corruption. Read the rest at Blu-ray.com

Attempting to make an action comedy, “Hot Pursuit” decides on overkill as a surefire way to laughs and thrills. It’s the latest effort from director Anne Fletcher, who keeps getting hired to helm funny pictures despite a spotty track record (“27 Dresses,” “The Proposal,” “The Guilt Trip”), only here there’s a manic energy to manage. Instead of taking it slowly, developing intricate stunt sequences and massaging punchlines, Fletcher encourages broad antics and chunky pratfalls one would expect to find on an elementary school playground. “Hot Pursuit” isn’t funny or exciting, it’s just loud, gifting stars Reese Witherspoon and Sofia Vergara a holiday to let loose with caricatures, trusting volume to be the cure-all for a dud script. Read the rest at Blu-ray.com

“Noble” isn’t shy about piling on acts of misery. Telling the story of Christina Noble and her fight to protect orphaned and abandoned children in Vietnam, the feature has a wealth of cruelty to cover, with much of the script devoted to hardships in dire need of conquering. Miraculously, writer/director Stephen Bradley infuses the picture with spirited determination and purpose to lend the material some needed oxygen, with the viewing experience certainly bruising, but not suffocating. “Noble” largely works due to its clenched-fist approach, tending to the particulars of Christina’s war against suffering while maintaining its message of hope, making it the rare faith-based film that’s more show than tell. Read the rest at Blu-ray.com

There’s a fine line between nobility and exploitation, and “Skin Trade” is just barely able to maintain balance between the extremes. Co-scripted and starring Dolph Lundgren, the feature endeavors to expose the evils of human trafficking, using the action genre as sugar to help the medicine go down. It’s impossible to argue with such intention, especially when dealing with the world’s wickedness. However, “Skin Trade” doesn’t follow through on its potential for horror, quickly devolving into a roughhouse revenge picture that consumes cliché by the pound, spending more time perfecting explosions, kicks, and chases than it does sharpening its focus on human violations. Purpose is pure, but the execution favors anarchy over sympathy. Read the rest at Blu-ray.com

While it’s an accomplished and engaging dramedy, “The Mafia Only Kills in Summer” is perhaps most valued as a tonal tightrope walk writer/director Pierfrancesco Diliberto (making his helming debut) pulls off with remarkable balance. Here’s a film that takes on Italy’s blood-stained history with the mob, filled with assassinations and general chaos on the streets of Palermo. And yet, “The Mafia Only Kills in Summer” is work filled with slapstick comedy and reverence for real-world figures who stood up to deadly intimidation. It’s funny and shocking, often in the same moment, securely positioning a coming-of-age story on top of reality, developing all the awkwardness and awareness with enticing wit, timing, and horror. Read the rest at Blu-ray.com

“The 100-Year-Old Man Who Climbed Out the Window and Disappeared” will forever be compared to “Forrest Gump.” And there’s a good reason for that: it’s practically the same movie. Testing legal powers at Paramount Pictures, this Swedish production launches a strange tale of a simple man somehow finding himself in the nooks and crannies of history, unaware of the sights he’s seen. Giving the effort its own identity is a dark sense of humor, which helps encourage interest in familiar shenanigans. Unfortunately, the material’s bite doesn’t last long enough, finding “The 100-Year-Old Man” coming down with a case of the cutes as it lurches from scene to scene. Read the rest at Blu-ray.com

In 2014, during promotion for “Captain America: The Winter Soldier,” actor Chris Evans let it slip that he’s grown tired of acting, fatigued by his Marvel contract and recent gigs. It was a moment of honesty in an intensely guarded industry, making it clear that Evans’s heart just wasn’t in the work anymore, save for a few extraordinary projects (including “Snowpiercer”). After viewing “Playing It Cool,” Evans’s latest release (actually shot in 2012), his disappointment is understandable, caught playing a creep in a movie that ultimately seeks to endear itself to its audience, stroking the same romantic comedy clichés it strives to satirize. It’s dreary, unfunny work, but as a catalyst for future career reinvention, Evans couldn’t have made a better professional choice. Read the rest at Blu-ray.com

In 2010, writer/director Quentin Dupieux made his filmmaking debut with “Rubber,” a horror/comedy about a killer tire. The premise was enough to draw interest, but the picture’s command of absurdity and atmosphere kept the feature fascinating. A second bizarre comedy, “Wrong,” followed, also hitting wonderful notes of weirdness while remaining periodically hilarious, quickly chased by another winner, “Wrong Cops.” Dupieux enjoys the strangeness of cinema, but he’s managed to retain some sense of subversive gravity to his work. With “Reality,” the helmer aims to pull his own effort inside out, endeavoring to build a comedy that messes with perception and manipulation while mining laughs out of pure oddity. For those who enjoy their brain-bleeders with a significant sense of humor, “Reality” is truly something to experience. Read the rest at Blu-ray.com

2012’s “The Avengers” was an experiment of sorts. With audiences around the globe responding positively to comic book heroes in individual adventures, how would they react to a group effort? Fears of overkill were put to rest immediately, with “The Avengers” received rapturously by fans and critics, quickly becoming one of the top grossing movies of all time. After a three year break to tend to the specifics of these costumed men and women, the A-Team has reunited for “Avengers: Age of Ultron,” a darker, more internalized follow-up that still retains all the expected bang and boom. Writer/director Joss Whedon has pulled off an impressive feat here, sustaining the intensity of a ripping adventure yarn while digging into a few of the characters a little more deeply, finding fresh ground to cover in a more satisfying epic. Read the rest at Blu-ray.com

There is no shortage of information concerning the life and times of music icon Kurt Cobain. Through countless magazine articles, books, and films, a fairly accurate portrait of the man has been created, but a mystery surrounding his troubled existence somehow remains. Director Brett Morgan (“The Kid Stays in the Picture”) appears to understand this impasse, going after the one thing so many journalistic endeavors fail to achieve: access. With permission to pore through diaries, recordings, home movies, and art, Morgan crafts “Cobain: Montage of Heck,” which isn’t an A to Z exploration of the Nirvana frontman’s history, but a full submersion into the viscous fluids of his life force, trying to locate the spirit that existed before the empty shell became famous on a global scale. Read the rest at Blu-ray.com

We’ve reached a point where fashion documentaries have created their own Marvel Cinematic Universe-style of interconnection. Art-house cinemas have been flooded with titles in recent years, with filmmakers setting out to dissect the faces and style that fuels fashion’s most popular brands. Think “Valentino: The Last Emperor” and “The September Issue,” with this push (arguably fueled by the popularity of the cable show “Project Runaway”) to discover how haute couture is created and presented to the world offering a fascinating look at the priority of superiority. “Dior and I” joins the line-up with conviction, managing a portrait of creative and physical effort, while tilting the presentation by including images and recollections from Christian Dior (who passed away in 1957), who appears as a ghostly presence. Read the rest at Blu-ray.com

Building her career as an actress, working for most of her life, Helen Hunt’s screen appearances have been few and far between over the last decade. She’s been concentrating on a directorial career, with “Ride” her second feature after 2008’s “Then She Found Me”– a warm, amusing effort that showcased Hunt’s skill with managing actors and maintaining an itchy atmosphere conducive to comedy. “Ride” isn’t quite as secure with tone, but it does have a visual personality, and emotional moments are genuine, inspiring some satisfyingly haunted work. Sitcom touches to make the movie malleable are unwelcome, but when Hunt works up the courage to avoid the obvious, she delivers welcome pathos. Read the rest at Blu-ray.com

As a faith-based movie out to create a tale that celebrates repentance and emotional connection, “Any Day” stumbles every step of the way. A stunningly amateurish effort, the feature strives to create a tragedy out of stupidity, hitting every cliché imaginable as it lumbers from scene to scene. The actors gathered here are left with nothing to work with, trying to make the best out of a bad situation, yet only they manage to make the picture worse. Abysmal, manipulative, and often caught with its shoelaces tied together, “Any Day” is either one of the most poorly edited features I’ve seen this year, or director Rustam Branaman is trying to pull off a colossal cinematic prank. Read the rest at Blu-ray.com