How does one even attempt to compact the life and times of author Gore Vidal into a documentary that runs less than 90 minutes? I don’t envy director Nicholas D. Wrathall, who struggles to mount a comprehensive understanding of one of the most complex (and catty) men of the 20th century. More of an overview than a proper dissection, “Gore Vidal: The United States of Amnesia” liberally shaves off more than few highlights and lowlights from the subject’s life, electing to transform into a political documentary, taking a look a Vidal’s history of outspoken behavior when it comes to the leadership of the U.S., and his abyssal knowledge of the nation’s past. It’s not a filling cinematic meal, but juicy morsels of candor and a chance to acquire a deeper appreciation for Vidal’s epic ego are worth the price of admission. Read the rest at Blu-ray.com

Sincerity goes a long way in film. It’s difficult to sustain, but individual moments count for something, which is why “I Am I” remains a strangely beguiling picture, despite obvious shortcomings. It marks the directorial debut for actress Jocelyn Towne, who conjures a generous starring role for herself as well, arranging a challenge of tonality that’s largely conquered, managing deep-seated emotion with an askew premise that teases uncomfortable areas of interaction. “I Am I” isn’t bold work, but it’s interesting when it finds true intimacy, masterminding a few suspenseful moments of poor judgment and bruised hearts that hold attention. Read the rest at Blu-ray.com

Recent work from writer/director Bobcat Goldthwait has proven the now part-time stand-up comedian to be an impressive filmmaker with a clear artistic vision, balancing tragedy and comedy with exceptional skill. With “World’s Greatest Dad” and “God Bless America,” Goldthwait has been fearless and hilarious, creating movies that take genuine risks with violence and satire. For “Willow Creek,” Goldthwait sets his sights on the found footage subgenre, running uphill with an aesthetic that’s been drained of any surprise over the last few years. While it doesn’t reinvent the wheel, “Willow Creek” commits to simplicity, turning a basic Bigfoot hunt into an authentically creepy, evocative event, with sound the driving force here, not berserk visuals. Read the rest at Blu-ray.com

It’s difficult to dream up new surprises in the time travel subgenre, with many pictures covering the basics in awe and timeline complication, often coupled with suspense or action elements to keep the whole enterprise on the move. And then there’s a movie like Shane Carruth’s “Primer,” which takes a scientific approach to the event, attempting to appeal to those who’ve grown weary of flux capacitors and gaudy time machines. “I’ll Follow You Down” works on the same level of scientific discourse, only here the focus is on family and how the manipulation of time sacrifices this essential component of life. Writer/director Richie Mehta doesn’t summon the most riveting tale with “I’ll Follow You Down,” but his intentions are pure, striving to rework the subgenre from a more human standpoint. Read the rest at Blu-ray.com

“Lucky Them” aspires to make a profound statement on self-medication, with the main character dabbling in sex and drinking to motivate her daily existence. However, any hope to inspect the reality of such a corrosive mental block is dashed early on in the film, with director Megan Griffiths unable to portray an honest sense of hopelessness, always returning to a semi-sitcom atmosphere of misunderstandings and broken promises. “Lucky Them” is trite instead of deep, while star Toni Collette is stuck in neutral, forced to make funny faces when the screenplay is unable to provide dramatic guidance, which is a frequent event in this ineffective picture. Read the rest at Blu-ray.com

Yes, “Edge of Tomorrow” plays like a ‘roided up “Groundhog Day,” yet beyond the similar daily reset concept, the latest film from director Doug Liman heads in an entirely different direction. The story doesn’t concern the warming of a heart, but the fate of the planet and a study of courage, loaded into a summer blockbuster that values quick pace and big action, keeping star Tom Cruise a very busy man during the mayhem. Inventive and irresistible at times, “Edge of Tomorrow” is more of a carnival ride than offering of drama, whipping back and forth as an alien invasion picture while guns roar, ships crash, and death is merely the first step to a uniquely fulfilling life. Read the rest at Blu-ray.com

Hollywood has attempted to make terrifying home invasion pictures, often employing imagery involving masked intruders as a means of horror. The Dutch chiller “Borgman” basically follows the same routine of domestic violation, only the results are far more insidious and wholly effective as a screen nightmare. “Borgman” is a fantastic example of how a slow-burn effort gradually reaches for the throat, using mysterious events and puzzling characters to vaguely define ghastly acts of intrusion, helping to secure an unsettling mood that’s marvelously maintained by writer/director Alex van Warmerdam. It’s a disturbing feature, flirting with incomprehensibility at times, but its way with mounting unpleasantness is frequently masterful, tilted with moments of dark comedy. Read the rest at Blu-ray.com

There are tearjerkers that carefully extract emotion from the audience through precise screenwriting, editorial timing, and tasteful performances. “The Fault in Our Stars” practically has interns stationed underneath theater seats peeling onions. It’s an aggressive picture, one that’s not content to let anyone leave the multiplex unless they’re a blubbering mess. Thankfully, there’s a little more soulful substance to the movie than cheap manipulations, and while “The Fault in Our Stars” is grabby, it’s also quite human, with genuine feelings accompanying troubling situations concerning death and grief. Fully aware of its power and pre-loaded following (those previously lassoed into fandom through John Green’s 2012 book), the feature adaptation has its problems, but it also retains refreshing dignity, never dipping into hysterics to extract feelings it hasn’t earned. Read the rest at Blu-ray.com

In the acting business for 25 years, I trust writer/director/star Clark Gregg’s perspective on the film business. His second moviemaking endeavor, “Trust Me” (following 2008’s “Choke”), has an amazing lived-in feel as we watch a desperate agent work the angles around power players in Hollywood. It has the lingo and speed, and the story lends itself to a type of insider perspective that’s riveting, getting to understand the often sneaky machinations of casting deals. Clark isolates all the desperation and surges of confidence required to complete a contract, but dramatically, “Trust Me” goes from stability to seppuku. It’s the kind of picture that could be shut off at the hour mark and nothing would be missed. Read the rest at Blu-ray.com

It’s been quite a year for filmmaker Alejandro Jodorowsky. After the U.S. release of “Jodorowsky’s Dune,” an exquisite documentary about failed plans to mount a most ambitious sci-fi epic during the 1970s, the helmer steps back behind the camera with “The Dance of Reality,” his first feature since 1990’s “The Rainbow Thief.” The mastermind of “El Topo” and “The Holy Mountain” returns to his brain-bleeding roots with his latest effort, a wonderfully surreal journey into memory and misery, jam-packed with all the oddity and incongruity Jodorowsky is known for, still kicking with mischief after all this time away from moviemaking. Read the rest at Blu-ray.com

The mysteries of the mind receive a tepid investigation in the thriller, “Anna.” Playing fast and loose with a borderline sci-fi concept, the picture offers a talented cast but doesn’t have a watertight script, fumbling through scenes instead of confidently mounting a series of nail-biting moments and mysterious events. “Anna” hints early on that sinister business is on its way, but the promise isn’t kept, finding director Jorge Dorado struggling to maintain excitement while the movie itself keeps laying down to take a nap, bored of its dispiriting imagination for brain invasion and the unsettling power of a teenage girl. Read the rest at Blu-ray.com

Seth MacFarlane generally does one thing, and he does with occasional inspiration. After years building his animation empire with “Family Guy” and “American Dad,” MacFarlane tried out live-action filmmaking with 2012’s “Ted,” a lewd, crude comedy with pleasingly bizarre acts of mischief wedged between the helmer’s obsessive need to shock and awe with his juvenile sense of humor. After experiencing a global box office smash, MacFarlane quickly returns to screens with “A Million Ways to Die in the West,” a western parody that makes “Blazing Saddles” look like a Noel Coward play. Limited in scope and silly business, the feature plays directly to MacFarlane’s fascination with poo-poo, pee-pee humor, without ever moving beyond the basics of sophomoric gags to transform into the raging farce it sporadically hints at becoming. Read the rest at Blu-ray.com

2010’s billion-dollar blockbuster “Alice in Wonderland” is the reason why we’re being inundated with fairy tale and fantasy revivals. 2012’s “Snow White and the Huntsman” continued the trend, last year’s “Oz the Great and Powerful” sustained it, and now there’s “Maleficent,” which returns to Disney’s animated classic, 1959’s “Sleeping Beauty,” for inspiration (a live-action “Cinderella” is due for release in 2015). However, this is no remake or reboot, but a reheating of known elements, with a few changes in motivation and an extension of backstory working to turn all attention to the villain of the tale. Only now, she’s no villain at all. Draining wickedness out of Maleficent, the production has defanged the character, and in their quest to recycle a brand name in the pursuit of big money, they’ve sucked the joy and danger out of the material, though, ever the plucky studio, Disney flails desperately to keep the feature candied and approachable. Read the rest at Blu-ray.com