Screenwriters John Glenn, Jacob Roman, and Kenny Ryan create an unusual alien invasion story for “Elevation.” Creatures emerge from the depths of the Earth and clear out 95% of the world’s population, and it’s impossible to kill them due to impenetrable scales and swift movements. The only thing they can’t do is move above 8,000 feet, pushing survivors into the mountains, creating a new way of life. There’s a decent hook with “Elevation,” which supplies a few different locations when depicting creature rampages, allowing director George Nolfi (“The Banker,” “The Adjustment Bureau”) to stage some passably intense screen action. The rest of the feature is less confident, stumbling through clumsy dialogue exchanges and dealing with a grand franchise plan that requires the first film in the series to grab viewer imagination. And that doesn’t happen so easily in the endeavor. Read the rest at Blu-ray.com

Richard Curtis is known for his work in Christmas-themed entertainment, previously writing and directing 2003’s “Love Actually,” which explored more adult concerns when it came to seasonal blues. He’s back in the yuletide spirit with “That Christmas,” co-scripting (with Peter Souter) an adaptation of three of his children’s books, exploring the ways of rambunctious kids separated from their parents on December 25th. It’s an animated offering of youthful shenanigans and Santa-minded adventuring, with director Simon Otto (a former animator who contributed to the “How to Train Your Dragon” series) simply out to make something a little silly and kind for viewers. “That Christmas” doesn’t exactly know when to quit, but it retains plenty of charm, also offering a flavorful voice cast and enjoyable animation to add a fresh display of seasonal entertainment for those in need of it. Read the rest at Blu-ray.com

Perhaps it’s not as significant in the world of competing movies as “A Bug’s Life” and “Antz,” or possibly “White House Down” and “Olympus Has Fallen” (maybe “Finding Nemo” and “Shark Tale” is a better example?), but “The Last Rifleman” shares the same story as 2023’s “The Great Escaper.” In that picture, Michael Caine portrayed an elderly World War II veteran sneaking out of senior home captivity to participate in a ceremony recognizing the 70th anniversary of D-Day. The new(ish) film puts Pierce Brosnan in the role, handling old age makeup and general physical stiffness to portray the determined man, who’s bringing plenty of emotional baggage with him on the journey. The tales aren’t completely identical, but there’s enough similarity to inspect, yet “The Last Rifleman” is the bluer endeavor, offering less time with travel experiences and more moments of guilt and pain hitting the main character as he embarks on an ambitious quest to reach France on his own. Read the rest at Blu-ray.com

It’s not exactly the holiday season in “A Sudden Case of Christmas,” which takes place during the month of August, bringing heat and family tourism to the story. There’s not much yuletide spirit in the picture either, as it primarily focuses on relationship woes facing multiple characters managing a trip to the Dolomites region of Italy. And yet, Director Peter Chelsom (who co-scripts with Tinker Lindsay) pushes for a warm atmosphere of celebration and communication in the feature, attempting to find different ways to bring out the Christmas feels. “A Sudden Case of Christmas” isn’t a riveting endeavor, as the material is more sitcom-ish than inspired, but Chelson has star Danny DeVito, who brings a certain level of dramatic emphasis and liveliness to the effort, which benefits greatly from his enthusiasm. And, when all else fails the offering, there’s time spent in a glorious area of the world. Read the rest at Blu-ray.com

Director Steve McQueen hasn’t made a narrative-driven film in many years, not since his stellar work on 2018’s “Widows.” The “12 Years a Slave” and “Shame” helmer released a little-seen documentary last year (“Occupied City”), but he returns to more dramatic interests in “Blitz,” which is a big-budget period piece examining the dangers of life in London during World War II. McQueen (who also scripts) tones down his usual interest in behavioral extremity for the endeavor, remaining tough on his characters, but he also offers a Disney-adjacent study of juvenile fortitude and parental separation, feeling a bit like “The Journey of Natty Gann” with a harder sense of the real world. “Blitz” offers a chilling study of wartime dangers and community misery, with impressive technical credits bringing haunting images to life. The overall arc of endurance isn’t quite as potent, as McQueen isn’t built for emotionality, leaving the feature slightly lacking in the tenderness department. Read the rest at Blu-ray.com

Director Bruce Goodison (“My Murder,” “Murdered by My Father,” “Murder in the Car Park”) and screenwriter Virginia Gilbert (“Home,” “A Long Way from Home”) have an idea for “Black Cab.” It’s just not one especially suited for feature-length examination. What’s here is primarily a concept for a short, tracking the growing panic of a woman who’s been essentially kidnapped by her cab driver, left to suffer as she endures a lengthy ride to the middle of nowhere, facing a villain who’s slow to expose his motives. The filmmakers endeavor to launch a ghost story with the material, but very little paranormal activity is found in the movie. “Black Cab” is more of a screenwriting exercise than a true nail-biter, dealing with lengthy speeches and limited movement, which doesn’t inspire much suspense. Viewers expecting evil from the premise are served a lukewarm chiller instead, and one that runs out of creative gas early. Read the rest at Blu-ray.com

As he enters his mid-90s, it’s amazing that Clint Eastwood still wants to make movies. However, his recent output hasn’t enjoyed the clarity of his earlier work, caught stumbling through duds like “The Mule,” “The 15:17 to Paris,” and his last endeavor, 2021’s “Cry Macho.” Eastwood’s instincts have dulled, and he’s not the best judge of material anymore, but there’s something of a return to form in “Juror #2.” That’s not to suggest the feature is in any way remarkable or skillfully managed, but it’s competent, which is refreshing to see when it comes to an Eastwood production. The screenplay by Jonathan Abrams (making his writing debut) has a strong hook and a deep sense of self-inspection, exploring the weight of guilt and the power of denial, coming up with a decently motivated legal drama that’s focused on character. “Juror #2” isn’t powerful, but it’s steady, automatically making it better than the last eight years of Eastwood efforts. Read the rest at Blu-ray.com

Writer/director Sean Baker enjoys exploring the grittier side of life, often focusing on forgotten members of society as they struggle in the shadows. He experienced a breakthrough with 2015’s “Tangerine,” won a larger audience with 2017’s “The Florida Project,” and took a bit of a career hit after 2021’s little-seen “Red Rocket.” Baker returns to his fixations in “Anora,” which reunites the helmer with the plight of a sex worker stuck in a heightened situation beyond their control. The material aims to offer a comedic understanding of bad decisions and faux bonds, following the eponymous character as she’s caught in the middle of a troubling reality while coming into contact with an unexpected relationship. “Anora” is 80 minutes of yelling matches, behavioral excess, and games of intimidation, but Baker elects to turn thin material into a 139-minute-long understanding of heartache. It doesn’t take long for this movie to start spinning its wheels. Read the rest at Blu-ray.com

The years pass by without mercy, and “Time Cut” is a time travel movie that’s an unsettling reminder of this reality. The story takes the characters all the way back to…2003, out to stop a serial killer who makes life unbearable for a 2024 teenager looking to alter the course of her future. It’s a Gen Z take on the pressures of survival from screenwriters Michael Kennedy (“Freaky,” “It’s a Wonderful Knife”) and Hannah MacPherson (who also directs), and while the pair have a chance to go the more obnoxious Blumhouse way with the endeavor, “Time Cut” doesn’t push that hard on the senses. It’s obviously aimed at a younger audience, taking it easy on gore and violence, but it remains a snappy little thriller with a very strange sense of time challenges. It’s not monumental cinema, but for those outside of its target demographic, the picture manages to deliver a little excitement and characterization. Read the rest at Blu-ray.com

Director Robert Zemeckis loves a technical challenge, and there’s a big test of skill with the adaptation of Richard McGuire’s 2014 graphic novel, “Here.” The source material began life as a comic in 1989, developed into something more substantial for its literary debut, while still retaining McGuire’s concept of a fixed image breaking up into different panels. It’s an exploration of time telling many stories of life lived in one place, making a true big screen adaptation a difficult undertaking. Zemeckis gets most of his ideas across in the feature, which strives to replicate McGuire’s vision while softening it up some for mainstream acceptance. “Here” has its limitations and odd creative choices, but the picture is a fascinating sit, watching the helmer strive to make a workable tale out of an esoteric book, keeping the years and characters on the move as they endure the human experience. Read the rest at Blu-ray.com

In Hollywood history, there hasn’t been a career quite like the one that belongs to John Williams. He’s a film composer and conductor, working steadily for the last 60 years, and it’s not enough to simply honor his ability to remain employed in a terribly fickle industry that has a nasty reputation for burnout and cynicism. He’s managed to create the most iconic movie scores around, building a jaw-dropping library of creative triumphs that have carried on for generations, with a few reaching complete pop culture omnipresence. Director Laurent Bouzereau (a respected film historian and documentarian, recently helming “Faye”) looks to understand and respect William’s professional and personal odyssey in “Music by John Williams.” While the tone of the feature is more celebratory than investigative, the experience of this life and work is truly amazing as the endeavor tracks the development of expertise and creativity while reminding viewers of the very real person behind an incredible run of screen magic. Read the rest at Blu-ray.com

While firmly committed to taking fat paychecks to star in mediocre thrillers and actioners, Liam Neeson detoured into more interesting work this year, portraying a conflicted assassin in the Irish film, “In the Land of Saints and Sinners.” The picture presented his best performance in years, offering Neeson a chance to do something a bit different in a more character-based part. He continues this thespian journey in “Absolution,” which reunites Neeson with his “Cold Pursuit” director, Hans Petter Moland, tasked with portraying an aging enforcer suffering from a brain injury confronted by all the mistakes in his life, attempting to find a way to do some good again. “Absolution” has a few moments of violent confrontations, but it’s mostly about a psychological and emotional odyssey, giving Neeson room to feel out all the pain and confusion in screenwriter Tony Gayton’s flawed but reasonably detailed study of regret. Read the rest at Blu-ray.com

Bowling comedies don’t come around often, making “The Gutter” something of an oddity in the marketplace. It’s not exactly a growth sport, and a few other movies have certainly managed to find most of the humor in the subculture, with “Kingpin” and “The Big Lebowski” achieving big laughs while handling the oddity of the game. “The Gutter” looks to offer a wilder viewing experience, as directors Isaiah and Yassir Lester (making their feature-length helming debut) unleash what appears to be a mostly improvisational underdog picture that’s completely dedicated to being as silly as possible. It’s a noble quest, but there’s a familiarity to the effort’s sense of humor that’s disappointing, as most of the offering is devoted to actors trying to pull jokes out of thin air. Goofiness reigns supreme in “The Gutter,” but actual laughs are weirdly limited to just a few moments in this study of bowling alley supremacy. Read the rest at Blu-ray.com

The screenplay for “Cellar Door” provides a terrific hook for suspense. It’s a “Twilight Zone”-style offering of ominous evil, setting up the feature for a macabre exploration of escalating curiosity and madness as a married couple is confronted by possible doom contained within a forbidden area of their new house. Writers Sam Scott and Lori Evans Taylor certainly know how to draw an audience in via their imagination for mystery, but they struggle during the rest of the film. “Cellar Door” isn’t the movie it initially promises to be, as the material looks to explore the dangers of the unknown and the challenges of married life, with the latter taking over the offering. Those expecting an active genre viewing experience are left with little in the effort, which hopes to become a more refined thriller, and that creative choice doesn’t yield much excitement. Read the rest at Blu-ray.com

The marketing for “He Sees You When You’re Sleeping” presents the image of a murderous Santa Claus posing menacingly with a bloodied ax. There is a costumed killer on the loose in the feature, but the movie is far from a slasher experience, miles away from the Christmas rampaging found in similar holiday horror offerings, including 1984’s “Silent Night, Deadly Night.” Screenwriter/star David Lenik doesn’t share a command of scary business with the material, which is primarily about a scheming family and their corrupt ways during the yuletide season. A few bodies are mangled and some suspense is promised, but “He Sees You When You’re Sleeping” mostly resembles a filmed community theater production, watching a large cast attempt to participate in uneventful writing, while director Charlie Steeds can’t do much with a limited budget. This isn’t a picture that’s determined to frighten its audience. Read the rest at Blu-ray.com

“Hitpig” is not a particularly faithful adaptation of “Pete & Pickles,” a 2008 children's book written by Berkeley Breathed. The creator of the beloved comic strip “Bloom County,” Breathed’s original idea of a developing friendship between a pig and an elephant has largely been altered into something else for the production, as screenwriters Dave Rosenbaum and Tyler Werrin attempt to create a more action-oriented animated endeavor for family audiences. Some sweetness remains, but “Hitpig” definitely becomes a traditional cartoon distraction, as directors David Feiss and Cinzia Angelini focus on slapstick antics to connect the dots on the feature. Defined invention and cleverness would be welcome, but the effort has its moments, offering a sharp pace and enough wild characters to hold attention, with younger viewers clearly the target demographic for the picture. Read the rest at Blu-ray.com