The saga of the West Memphis Three has been recounted in three documentaries by Joe Berlinger and Bruce Sinofsky, and another documentary by Amy J. Berg. That’s a lot of screentime devoted to a single crime, and while the tangle of evidence and suspects is considerable when detailing the arrest and prosecution of Damien Echols, Jessie Misskelley, and Jason Baldwin, most, if not all emotional and legal developments have been covered at this point. “Devil’s Knot” has the unfortunate task of dramatizing only a mere slice of the story, and its very existence is puzzling, arriving after so many other filmmakers have dissected the absurdities of the case. Although director Atom Egoyan has a commendable approach, “Devil’s Knot” is overwrought and, frankly, feels like old news. Read the rest at Blu-ray.com

Writer/directors Lucky McKee (“May”) and Chris Sivertson (“I Know Who Killed Me”) tried this once before. In 2001, the partners created “All Cheerleaders Die” during the infancy stage of their careers, using the little-seen horror picture as an example of filmmaking ability in the genre. 13 years later, the pair has elected to remake their debut effort, reawakening the feature with a fresh perspective and a larger budget, hoping to use early inspiration to fuel a new round of macabre highlights. “All Cheerleaders Die” is certainly ghoulish, with a pronounced nasty streak that keeps it on edge. It’s how this fury interacts with lighter material that poses a problem, with McKee and Sivertson perhaps too entranced with their own creation to fully appreciate how uneven it is. Read the rest at Blu-ray.com

“Whitewash” is the strangest survival story you’ll see all year. A Canadian production, the film employs a criminal element of murder to lure viewers into an impossibly tight place with the lead character, watching desperation take hold in a forbidding, frozen landscape. And then, slowly but surely, the picture reveals bits and pieces about the crime and the men involved, moving away from mysterious intentions to play out as a game of endurance with a side of hypothermic madness. It’s a specialized viewing experience for more adventurous audiences, but “Whitewash” is accomplished, darkly humorous, and features a focused turn from actor Thomas Haden Church, showing rare commitment here. Read the rest at Blu-ray.com

I’m not sure what Elizabeth Banks was hoping to gain by agreeing to star in “Walk of Shame,” but I’m certain she’s not going to feel much in the way of positivity once the public begins sampling the picture. Uselessly crude and insistently moronic, “Walk of Shame” features the type of story that could be completely washed away if the main character simply stopped to explain herself. However, that approach would negate the movie, leaving writer/director Steven Brill to groggily dream up nonsensical ways to keep this attempt at a screwball comedy on the go, subjecting Banks to lethal screenwriting and aggressive supporting performances. Read the rest at Blu-ray.com

Revenge stories tend to celebrate violence, cashing in on the visceral appeal of righting wrongs with extreme aggression. “Blue Ruin” is a familiar tale of pent-up distaste, though writer/director Jeremy Saulnier works diligently to avoid expectations of stylish comeuppance, returning the drive of revenge to its most feral state, where gut-rot anxiety overpowers any fantasy of psychological liberation. An exceptionally composed and imagined film, “Blue Ruin” finds suffocating spaces of contemplation, doing a masterful job exposing the frightening yet functional steps of murder as it plays with the conventions of an operatic blood feud. Saulnier establishes himself as a major talent with “Blue Ruin,” displaying refreshing care for emotional wreckage and abrupt acts of violence. Read the rest at Blu-ray.com

“Stage Fright” merges the worlds of musical theater and slasher cinema. The disparate traditions might not seem to be an ideal mix, yet writer/director Jerome Sable finds a splendid middle ground of camp and suspense, filling the picture with memorable songs and a traditional display of bloodshed. It’s certainly a bizarre movie, but also immense fun and surprisingly well-produced, having a ball as it dreams up ways to weave through musical numbers and stalker sequences. With the horror genre always chasing repetition to secure hits, it’s nice to see a feature that’s a little loopy and imaginative, delivering the goods with some hostility and a sense of humor. Read the rest at Blu-ray.com

The decision to bring multiple villains into a superhero extravaganza has always been a difficult one to digest. It works periodically (Christopher Nolan’s Batman films established a memorable community of foes), but, for the most part, it results in severe overcrowding, with the production failing to juggle the needs of the protagonist as it faces the wrath of numerous antagonists. “The Amazing Spider-Man 2,” a quickie sequel to the 2012 effort, suffers from too much, too soon, cramming three different villains, a parental backstory, a tepid love story, and comic book hero adventuring into a single picture. The fatigue is immediate, even when director Marc Webb struggles to jazz up the feature with event movie excess, resulting in a mediocre follow-up to a mediocre original, with the production’s speed to explore spin-off possibilities damaging the dramatic potential of “The Amazing Spider-Man 2.” Read the rest at Blu-ray.com

There have been a few penis-centric comedies throughout the years (perhaps most notably, the 1988 Doris Dorrie picture, “Me and Him”), but “Bad Johnson” has the right approach for such an iffy cinematic premise. Instead of working around the oddity of a human organ suddenly attaining consciousness, the feature elects to personify the male member as a living, breathing wiseacre, thus allowing the movie breathing room to work out its plot. Mercifully, “Bad Johnson” has an adequate sense of humor, providing some hilarious punchlines here and there, but miscasting is the tight leash that keeps the film from truly inspired madness. When it comes to penis comedies, it always helps to cast funny people in the leading roles. Read the rest at Blu-ray.com

Despite obvious limitations, 2005’s “The Protector” was a pleasingly weirdo action fest from Thailand that chased every impulse it could get away with, from elephant adoration to a transsexual villain. Featuring thrilling fight choreography, the film was a stepping-stone in the once thrilling career of star Tony Jaa, who was building a powerful brand name at the time, using “The Protector” to inch his way into the global marketplace. Nearly a decade later, and there’s now a sequel, which arrives years after Jaa’s momentum cooled, hoping to trigger fond memories of the hero’s abilities by returning to one of his most popular characters. Read the rest at Blu-ray.com

“The Skeleton Twins” is going to attract a lot of media attention for its casting of comedy stars Bill Hader and Kristen Wiig in an edgy, indie drama. Mercifully, the movie isn’t a steady display of severity, but a strongly imagined screen depiction of desperation and clinical depression, with welcome breathers of levity and warm sensitivity. It’s a beautiful picture that understands the tenuous bonds of family and pressures of self-delusion, winningly explored with an emotionally consistent, graceful screenplay and assured direction from Craig Johnson. While it appears foreboding, and perhaps that’s the most tantalizing direction for all marketing efforts, “The Skeleton Twins” is approachable and meaningful, confronting an impossible darkness with a generous flow of humanity. Read the rest at Blu-ray.com

When a movie wants to communicate the passage of time, it typically takes tricks in casting or make-up to sell the illusion of the years floating by. Richard Linklater’s “Boyhood” attempts something different. Production actually commenced in 2002, with short segments of the helmer’s script filmed over a 12 year period, allowing the stars to age naturally, with emphasis on its youngest characters, who naturally work through adolescence as the feature progresses. It’s a fascinating experiment but a surprisingly relaxed effort. Linklater eschews the poignancy of time passage with this ode to growing up, instead highlighting the development of personality, interests, and defense mechanisms as he observes the world around him. Read the rest at Blu-ray.com

“The Quiet Ones” had potential. A creepshow co-produced by Hammer Films, the feature has the right ingredients to at least reach a comfortable plateau of scares and demonic happenings, boasting a creepy doll, unexplained telekinetic events, and a remote location. Disappointingly, director John Pogue doesn’t trust the essentials, trying his best to amplify every single creak and slam to goose the audience, never allowing them to slowly slip into the foreboding atmosphere. Although it’s well-acted, “The Quiet Ones” whiffs on true terror, caught between a habitual need to artificially jolt the viewer and a languid pace, unable to increase pressure in a manner that would benefit the chilling intentions of this misfire. Read the rest at Blu-ray.com