The title “My Dead Friend Zoe” seems like it should belong to a Touchstone Pictures release from 1993, hinting at a goofy horror comedy to come. Co-writer/director Kyle Hausmann-Stokes makes his feature-length debut with the movie (adapting his 2022 short), and he’s only marginally interested in laughs. The rest of the endeavor concerns the brewing storm of feelings inside an Army veteran working to avoid the details of her past. “My Dead Friend Zoe” carries a slightly bizarre tone for its first half, but Hausmann-Stokes has a final destination in mind for the material, packing quite an emotional punch with the film, which seeks to examine mental health issues facing military veterans. There’s tough love to survey in the offering, and it’s a capably assembled drama with excellent acting to support its message of human connection and self-examination. Read the rest at Blu-ray.com

“I Heart Willie” is the third production to exploit the public domain status of “Steamboat Willie,” arriving after “The Mouse Trap” and “Mouse of Horrors” (a fourth competitor, “Screamboat,” is due out soon) There’s been a race to see who can reach the newly freed Mickey Mouse first, and with such production speed comes substantial filmmaking sloppiness, as little thought or money is put into endeavors looking to coast on the perversion of brand recognition. “I Heart Willie” is a Mexican production attempting to make a mess of Disney history, putting actor/screenwriter David Vaughn (who receives “characters created by” and sole writing credits) on a mission to generate a terrifying descent into the vicious ways of a monstrous “mouse-man” and his endless appetite for human flesh. Director Alejandro G. Alegre gets about as far as torture and suffering in the feature, which isn’t suspenseful, but something created quickly to cash-in on a trend that, so far, viewers don’t really care about. Read the rest at Blu-ray.com

After the quick box office death of 2023’s “Dumb Money,” it’s amazing that another movie about Reddit-born financial horrors would be put into production. “Cold Wallet” turns its attention to the ways of cryptocurrency and some of the manipulation employed to keep certain people rich while others are ruined. However, co-writer/director Cutter Hodierne isn’t interested in the specific financial ways of the industry, instead using the frustrations of the have nots to fuel a thriller, taking things into a “Panic Room” direction, only without Fincher-led precision. “Cold Wallet” is a little lacking when it comes to thrills, but the feature has a few highlights as it focuses on confrontations and the messiness of a hostage situation. Perhaps those invested in this particular monetary realm might get a little something extra out of the viewing experience, but Hodierne delivers a few scenes of intensity to go with the tale’s long night of paranoia. Read the rest at Blu-ray.com

“Rats” comes from the minds of co-writers/directors Carl Fry and Maxwell Nalevansky, who make their feature-length filmmaking debut with the endeavor. And the partners are trying to stuff as much as they can into the offering, out to make a wild, absurdist comedy that follows the everyday insanity of Fresno, TX. It’s a town home to petty crime, unhinged people, and the site of a possible sale of nuclear weapons to terrorists. Those weaned on Adult Swim programming are the target demographic for the effort, which almost exclusively rides along on shock humor and pronounced oddity, putting Fry and Nalevansky on a journey to make an extreme movie on a minimal budget. “Rats” is definitely crazy, and there are laughs to be had along the way, especially when the helmers try for inspired lunacy. But even the most die-hard fans of cinematic nuttiness might find themselves checking the time during the viewing experience, as Fry and Nalevansky can’t quite sustain their vision for this explosion of egos and bodily fluids. Read the rest at Blu-ray.com

“Uppercut” has a slightly bewildering production history. It’s a remake of a 2021 German film, which was written and directed by Torsten Ruether. The helmer returns to create an English-language remake, which may have been originally conceived as two features, presented in “Still” and “Sparkling” versions. Whatever creative ambition was originally in place for the endeavor has been removed for the second stab at the premise, likely edited together from two tales of boxing challenges and relationship difficulties. Ruether hopes to bring some sporting philosophy and intimate characterizations to the effort, but “Uppercut” loses a battle with pacing and performance. It’s more of a theatrical production than a cinematic experience, and Ruether can’t make it come alive, struggling to generate interesting conflicts and concerns as this extremely talky picture frequently crawls to a full stop. Read the rest at Blu-ray.com

There’s always room for a “Die Hard” knockoff. The influential 1988 actioner has inspired a whole bunch of imitators using the central idea of one heroic character battling many villainous ones inside a single location. “Cleaner” seems to have the working parts, mostly taking place around a high rise building, and a team of terrorists are interrupting a business celebration, putting the safety of all in the hands of someone who isn’t supposed to be in the building. And yet, the feature (scripted by Simon Uttley, Paul Andrew Williams, and Matthew Orton) isn’t fully giving into the John McClane way. Perhaps there’s not enough of a budget to really go wild, keeping the physical highlights of “Cleaner” to the final act. While mayhem is limited, the picture remains entertaining, taking on a different kind of antagonistic force, and star Daisy Ridley provides welcome spiritedness, giving director Martin Campbell (who recently fumbled “Dirty Angels”) something to work with as the writing finds its way to more dynamic events. Read the rest at Blu-ray.com

Written and directed by Noah Pritzker, “Ex-Husbands” is a story about men facing tremendous changes in their lives, and they have very little patience for it. It’s something of a comedy, but it’s mostly dramatic, inspecting how these people handle upheaval and grand emotional challenges while trying to remain social and understanding. Pritzker has the advantage of a fine cast to inhabit these itchy roles, with special attention on Griffin Dunne, who rarely receives a chance to sink his teeth into a character these days, offering an excellent performance while surrounded by strong work from the rest of the ensemble. “Ex-Husbands” has the initial atmosphere of a Woody Allen film, as the helmer threatens to remain with human foibles and New York City moods, but the picture grows more interested in behavior as it unfolds, making for a small-scale inspection of struggling personalities and their adventures in Mexico. Read the rest at Blu-ray.com

It’s been a few years since actor Christoph Waltz enjoyed a major role, but he’s back in starring mode in “Old Guy.” Putting aged thespians in action hero roles has become a common sight in recent years, but Waltz isn’t going all John Wick in the part. Instead, he plays up the creakiness and crankiness of an older hitman receiving his first taste of obsolescence, as his character is confronted by a chilling reality when he’s asked to help support a younger assassin during an important mission for his criminal organization. There’s not a whole lot that’s fresh in the screenplay by Greg Johnson (“The Last Son”), but there’s Waltz, who offers a colorful performance to help liven up “Old Guy” for director Simon West, providing some much needed personality for the endeavor as it goes about the business of underworld scheming and rising anxieties. Read the rest at Blu-ray.com

Former stunt performer James Bamford is trying to make his mark as a filmmaker as fast as humanly possible. “Jade” is the helmer’s sixth release in just over a year, as Bamford is in the midst of churning out low budget actioners carrying nondescript titles (such as “Utopia,” “Hard Home,” and “Shadow Land.”), attempting to flood the VOD/streaming market with forgettable offerings that all tend to supply the same lack of style and basic fight choreography. “Jade” intends to be a little different, as screenwriters Glenn Ennis and Lynn Colliar make a brief attempt to celebrate the blaxploitation subgenre in this story of a woman facing waves of trouble as she tries to survive a particularly violent night. The feature is an absolute mess, and while Bamford hopes to fog the reality of this dismal endeavor with lots of physical conflicts, he’s still stuck with a movie that has no real story or characters, and, at times, the film doesn’t even seem finished. Read the rest at Blu-ray.com

Writer/director/actor Edward Burns hasn’t made a movie of note since 2012’s “The Fitzgerald Family Christmas,” where he dissected the ways of a dysfunctional family and their unhealthy relationships. Burns returns in “Millers in Marriage,” once again dissecting the ways of a dysfunctional family and their unhealthy relationships. The helmer has his thing, spending most of his career examining troubled characters and their partnerships, and he’s right back into it in his newest film, following a collection of aging people reunited with regret and possibility as they attempt to lead stable lives. “Millers in Marriage” is not a comedy, as Burns gets very somber in the endeavor. Its darkness is mostly an asset, and while the helmer doesn’t show the best judgment with some of his casting choices, he delivers a reasonably compelling overview of sadness in the picture. Read the rest at Blu-ray.com

“The Unbreakable Boy” has endured quite a long journey to the screen. It was originally shot in 2020, bouncing around the release schedule since 2022, unable to find a proper launch date. And, after seeing the movie, one immediately appreciates such studio hesitation. The film is an adaptation of a 2014 memoir co-authored by Scott Michael LeRette, who wanted to share his story of parenthood and personal demons while also highlighting the world of his son, Austin, who was born with brittle bone disease and was eventually diagnosed with autism. The material is titled “The Unbreakable Boy,” but, surprisingly, Austin plays something of a smaller role in the story. LaRette elects to make the tale all about himself, putting writer/director Jon Gunn (“The Case for Christ,” “Ordinary Angels”) in a difficult position as he relies on inspirational cinema formula to keep the offering approachable. The picture is all over the place at times, making its sustained artificiality difficult to digest. Read the rest at Blu-ray.com

The slight success of “Winnie-the-Pooh: Blood and Honey” has really inspired a free-for-all in the realm of low-budget horror films. New introductions to public domain availability are being snapped up and turned into VOD filler, with Pooh himself stretched out for two movies (a third is on the way), and the Mickey Mouse from “Steamboat Willie” is currently inspiring a slew of cheapie productions, joined by Peter Pan and Bambi. And now it’s time for Popeye the Sailor Man. “Popeye’s Revenge” is not a sequel to the 1980 Robert Altman musical, but the newest release from ITN Studios, the home of “Blood and Honey,” and they’re quick to recycle the formula for their latest slasher, as it plays almost exactly like the Pooh offering. And that’s not a good thing, as director William Stead has no idea what he’s doing in the endeavor, which is loaded up with too many characters, a nonsensical screenplay (by Harry Boxley and E.C. Segar), and crude technical achievements. And there’s Popeye in kill mode, and that isn’t nearly as amusing as it could be thanks to the amateurish nature of the effort. Read the rest at Blu-ray.com