Director James Mangold was unable to send a screen hero out in a blaze of glory in 2023’s “Indiana Jones and the Dial of Destiny,” but he stays in the 1960s for another tale of exploration. “A Complete Unknown” isn’t exactly the story of Bob Dylan’s introduction to the world of music, as it features very little of the subject’s personality, which is probably the way he wants it. Mangold attempts to cover for such elusiveness by concentrating on Dylan’s love of music and his tolerance for romantic partners, finding the helmer looking to recreate his success with 2005’s Johnny Cash bio-pic, “Walk the Line.” “A Complete Unknown” is a well-produced endeavor, capturing the times before they began a-changing, but as a study of Dylan’s life during his path to going electric, the picture loses its way, transforming into a shapeless examination of a cold human being and all the ladies who, for some reason, couldn’t resist him. Read the rest at Blu-ray.com

Director Asif Kapadia is a documentarian, scoring some critical and commercial successes with 2010’s “Senna” and 2015’s “Amy.” Earlier this year, he helmed “Federer: Twelve Final Days,” examining the last stand for a popular professional tennis player. And now Kapadia is taking on the end of Earth in “2073,” which merges worlds of fiction and non-fiction to best examine the downfall of humanity as matters grow increasingly grim for the planet and its inhabitants. The future’s not bright in the picture, as it follows a woman and her experiences 50 years from now, attempting to find thinking and information in a land controlled by machines and the rich. “2073” isn’t an easy sit, and perhaps it doesn’t make for a complete film, but the ideas contained within it are valuable. Kapadia provides a warning about power and influence, presenting stories of oppression and destruction to help viewers grasp the dire situation we’re in right now, making a few severe points worth understanding. Read the rest at Blu-ray.com

“Sonic the Hedgehog 3” follows 2022’s “Sonic the Hedgehog 2,” with the first sequel proving there’s more than just pop culture curiosity surrounding the title, establishing the development of a cinematic franchise. The universe took a dip into television in last spring’s “Knuckles” series, which supplied an entertaining side adventure for supporting characters, but Sonic is back in charge for his third big screen extravaganza, and he’s bringing everyone with him. “Sonic the Hedgehog 3” sustains the speedy cinematic appeal of the brand name, and director Jeff Fowler isn’t about the switch things up, remaining focused on a decent balance of comedy and action, also tasked with juggling all the personalities from the first two endeavors for a third feature that’s grander in scale and issues a different threat in a new, emotionally tortured hedgehog on the scene. The movie doesn’t try to shake things up, but it stays enjoyably weird and consistent, out to please “Sonic” fans and delight younger viewers who helped to make the two earlier chapters into smash hits. Read the rest at Blu-ray.com

The world didn’t need a remake of “The Lion King,” but director Jon Favreau attempted something technically challenging in the picture, offering a photorealistic animated production, dazzling with the creative effort. The feature looked amazing, but it remained restrained by re-do familiarity, refusing to do something a little different with the story and world-famous songs. Alas, audiences didn’t seem to mind, turning 2019’s “The Lion King” into a box office behemoth, and, naturally, Disney is going to try again. They go the prequel route in “Mufasa: The Lion King,” which follows the tale of O.G. royalty around Pride Rock. Screenwriter Jeff Nathanson has new dramatic freedom in the film, but he doesn’t stray far from formula, as the offering isn’t a bright display of originality. However, it’s a more active, action-y, and emotive movie, and director Barry Jenkins (“Moonlight”) tries to keep it lively, also benefitting from a fresh round of tunes, most written by Lin-Manuel Miranda, which puts a little spring into the step of this endeavor. Read the rest at Blu-ray.com

Games of dominance and submission unfold in “Babygirl,” as writer/director Halina Reijn (“Bodies Bodies Bodies”) looks to go deeper into the mysteries of female sexuality. It’s the story of a business executive taking a chance on an affair that drills directly to her darkest desires, reaching her in ways previously thought impossible. Reijn goes for heat at times, but she’s also making a complicated study of psychological breakdowns, and such investigation gets the endeavor most of the way there. “Babygirl” is meant to be taken seriously, but it doesn’t always earn such attention, as overkill tends to invite campiness, but the core experience of a character happily pulled through the wringer is largely fascinating to watch, also serving as an acting showcase for Nicole Kidman. She naturally gravitates towards tightly wound personalities, but Kidman gets raw here, keeping the feature as interesting as possible. Read the rest at Blu-ray.com

“The Brutalist” is an ambitious undertaking, which is not something that’s commonly found in the marketplace. Co-writer/director Brady Corbet is trying to explore the American Experience on a lower budget, turning to older filmmaking technology and pacing to capture the movement of life as various horrors are visited on the main characters. Corbet previously helmed 2018’s “Vox Lux,” struggling with the messiness of his ideas and execution. He returns with a more structured endeavor in “The Brutalist,” tracking the festering emotional wounds of a Hungarian architect trading the nightmare of World War II for the unforgiving power plays of the U.S.A. Corbet and co-writer Mona Fastvold strive for something artful and sweeping in the offering, which is, at times, a powerfully realized feature. The “Vox Lux”-iness of the picture is hard to ignore, as Corbet asks a lot from viewers, spending 215 minutes on this tale of misery, periodically revealing its indulgences, throttling dramatic momentum. Read the rest at Blu-ray.com

There’s been no shortage of “The Count of Monte Cristo” adaptations across all forms of media. The 1854 adventure novel by Alexandre Dumas offers a lengthy and intricate revenge story to dramatize, making it irresistible to storytellers, and many have tried to construct excitement with the material, which was notably adapted in a 1975 television movie starring Richard Chamberlain, and a 2002 feature with Jim Caviezel. A plan of vengeance returns in the new “The Count of Monte Cristo,” and directors Matthieu Delaporte and Alexandre de la Patelliere take the filmmaking challenge very seriously. The helmers intend to go epic with the offering, overseeing a nicely produced, three-hour-long take on the return of Edmond Dantes and the many scores he plans to settle after being imprisoned for crimes he didn’t commit. The French production hopes to bring a little more action and psychological gamesmanship to the screen, and while the run time is a bit much, the effort is polished and strongly performed, finding a few peaks of suspense. Read the rest at Blu-ray.com

It has been suggested that production for “The Lord of the Rings: The War of the Rohirrim” began to protect a loss of film rights, with another batch of J.R.R. Tolkien-inspired big screen adventures being cooked up for release in a few years. Instead of speeding up the timetable on these endeavors, Warner Brothers and Peter Jackson’s WingNut Films have decided to turn to the world of anime to help extend contractual power. This style of animation is usually cheap to produce and carries a passionate fanbase, allowing the producers to continue to explore the stories of Middle Earth while remaining, visually, in a fantasy realm that doesn’t require the expense of live-action moviemaking to create. “The War of the Rohirrim” is scripted by Jeffrey Addiss, Will Mathews, Phoebe Gittins, and Arty Papageorgiou, who attempt to expand on mere ideas from Tolkien, hoping to generate a tale of conflict and family capable of satisfying the die-hard “Ring”-ers. Perhaps the offering is successful in this regard, but it doesn’t carry a thunderous cinematic presence, as the inherent thinness of the animation tends to undermine its quest to provide towering visuals. Read the rest at Blu-ray.com

Director Jaume Collet-Serra once specialized in making mid-range genre pictures, favoring thrillers such as “Non-Stop,” “Run All Night,” and “The Commuter.” He decided to head for the big leagues in recent years, going the monster-budget route in “Jungle Cruise” and “Black Adam,” only to find audience rejection and disappointing box office. Collet-Serra is back in B-movie mode with “Carry-On,” which follows the panicky efforts of a TSA agent trying to stop a terrorist from getting a weapon onto a plane on Christmas Eve. Say what you will about 1990’s “Die Hard 2,” but the feature knew how to use its airport setting and retained a tremendous appreciation for hard violence and enjoyable absurdity. “Carry-On” starts off with promise, getting about an hour’s worth of suspense and escalation in before it goes bananas, and not in a fun way. Instead, the helmer and screenwriter T.J. Fixman (“Ratchet & Clank”) offer overkill, ruining a decent attempt to mount a dangerous game of intimidation in a most exposed setting. Read the rest at Blu-ray.com

Director Martin Campbell and actress Eva Green previously collaborated on 2006’s “Casino Royale,” helping to bring the world of James Bond back to life with new star Daniel Craig. They reteam for “Dirty Angels,” and Green is promoted from damsel-in-distress to fierce warrior mode, portraying a haunted U.S. soldier receiving a chance for some payback as she leads a team on a rescue mission in Pakistan. Green isn’t the first performer that comes to mind when considering one-woman-army roles, and she’s miscast here, struggling to supply a stable accent and certain fury for a production that needs a little screen authority. “Dirty Angels” (a bizarre title) isn’t a slam-bang ride of revenge, and Campbell doesn’t show any personality in his work, overseeing a routine actioner that has a few moments of aggression, but mostly remains in planning mode, becoming dull instead of thrilling. Read the rest at Blu-ray.com

Director Luca Guadagnino is keeping busy these days. Last spring saw the release of “Challengers,” which managed to find an audience for its sexually charged understanding of friendship, rivalry, and lust. He returns to screens in “Queer,” taking on another challenge of sensuality and psychological unrest, attempting to bring the world of William S. Burroughs to life with screenwriter Justin Kuritzkes. The adaptation material is a 1985 novella from the author, and 160 pages is turned into a 137-minute-long picture that surveys special feelings and relationships while the characters kill time in Mexico during the 1950s. Guadagnino typically makes specialized features for certain viewers, and he doesn’t deviate from his formula in “Queer,” working to extend what little story there is here, filling the offering with dreamlike visuals and pregnant pauses. For some, this descent into Burroughs-ville might be as restless as anticipated. Debatable creative adventuring aside, there’s not much to the endeavor, which carries on for far too long, following actors well out of their range. Read the rest at Blu-ray.com

2024 basically opened with “Madame Web,” a wretched film attempting to do something in the world of Spider-Man without actually having Spider-Man involved in it. And now the year closes with “Kraven the Hunter,” finding producers continuing their quest to explore comic book realms while forgoing anything approaching quality filmmaking. These spin-offs have been strange (including “Morbius” and the “Venom” trilogy), but this year has been especially tough on the senses, as Sony Pictures is seemingly unable to fully understand what kind of entertainment they want to make. “Kraven the Hunter” has a character of some note (dating back to his 1964 debut), but the production completely botches any study of superpowers, family history, and villainy, making for a shockingly lifeless viewing experience that gradually becomes an underwhelming actors convention. It’s tough to state that this is the worst of the not-quite-Spider-Man batch, but it’s darn close, as the whole movie is one big mess trying to stand up straight as a superhero epic. Read the rest at Blu-ray.com

Unless the story involves some type of basketball showdown, the Looney Tunes gang doesn’t get many chances to prove their stuff on the big screen. Television is where the brand thrives, with generations of fans getting their fix of cartoon silliness, which makes the creation of “The Day the Earth Blew Up: A Looney Tunes Movie” somewhat strange. Director Peter Browngardt and a slew of screenwriters try their luck with an extended offering of animated mayhem, this time focusing on the panicking antics of Daffy Duck and Porky Pig, who get a shot to prove their box office appeal as the co-leads of the feature. Thankfully, the characters can handle the pressure, helping to make “The Day the Earth Blew Up” a periodically hilarious viewing experience, while Browngardt and his team offer striking, elastic visuals to support this goofy take on B-movie terror from the 1950s. Read the rest at Blu-ray.com

Earlier this month, there was “Unstoppable,” which told the story of Anthony Robles, a one-legged wrestler trying to make his way through the sport, dealing with all sorts of setbacks, including a violent home life. “The Fire Inside” is very similar, this time detailing the days of Claressa “T-Rex” Shields, a teenage boxer attempting to survive her environment and learn from a coach who cares about her future. There’s formula in both pictures, and while “Unstoppable” was indeed stopped by familiarity, “The Fire Inside” makes a noticeable effort to get past cliché. The screenplay, by Barry Jenkins, strives to merge the rush of underdog cinema with the reality of disillusionment, offering a more textured appreciation of struggle and sacrifice. And director Rachel Morrison (a longtime cinematographer making her helming debut) knows how to capture such tricky tonality, overseeing a challenging understanding of flickering spirit, and the production finds some fresh dramatic avenues to explore. Read the rest at Blu-ray.com

Writer/director Mike Leigh went uncharacteristically big in his last picture. Working under a sizable budget (for Leigh at least) and a different sense of scope, the helmer launched a historical epic in 2018’s “Peterloo,” but audiences weren’t very interested in watching the lengthy endeavor. Instead of trying to top himself, Leigh returns to the intimacies of a domestic drama in “Hard Truths,” which plays to his strengths as a storyteller favoring tough tales of distraught people recognizing the difficulties of their lives. Leigh doesn’t go easy on the audience with the effort, taking a close look at a woman managing all sorts of mental health issues while handling family demands. “Hard Truths” cuts to the core with its study of emotional and physical pain, and while the cast is exceptional here, the feature fully belongs to star Marianne Jean-Baptiste, who provides a full-body understanding of a calcified person unwilling to participate in the world any longer. Read the rest at Blu-ray.com

“The Last Showgirl” is meant to be a comeback film for Pamela Anderson, giving her a “The Wrestler” moment where she can show off her acting chops in a story that deals with the cruel realities of aging, especially when the main character is faced with past glories. Anderson hasn’t really acted much in recent years, but her history of glamour and sexploitation is enough to inspire the screenplay by Kate Gersten (“The Good Place,” “Schmigadoon”), who creates a study of finality after decades of routine, putting a Las Vegas dancer through a difficult two weeks where her entire world shifts and, in some ways, sinks. “The Last Showgirl” makes odd choices as it unfolds, as director Gia Coppola (“Palo Alto,” “Mainstream,” “The Seven Faces of Jane”) is looking to feel the material instead of guide it, resulting in a few wayward scenes. However, shock present in the writing is fully understood, and whatever Anderson is capable of delivering is on-screen in the feature. Read the rest at Blu-ray.com