“Cottage Country” is a wicked, amusing black comedy that satisfies with its ghoulish sense of humor and appetite for escalating acts of frustration. Unfortunately, the blood-caked merriment only lasts for the first act of the film, with the rest of the effort failing to live up to its opening as it hunts for macabre business without much in the way of inspiration. Brightly mounted and nicely performed, “Cottage Country” has moments of delicious insanity, but screenwriter Jeremy Boxen can’t sustain the frantic tone, leaving the feature top heavy instead of building to a devastatingly funny and frightful conclusion. Read the rest at Blu-ray.com

“I, Frankenstein” has been promoted as the latest release from the creators of “Underworld.” What the marketing fails to mention is that the effort is more of a remake of the hit 2003 picture starring Kate Beckinsale than a kissing cousin, trying to replicate the fantasy recipe to help launch a new franchise. The formula worked relatively well for “Underworld” and its three follow-ups, but I doubt we’ll see another chapter of the “I, Frankenstein” saga beyond this lumbering movie. Far too synthetic and dramatically self-conscious to embrace as genre escapism, the feature never builds its own dark personality, more invested in drab mythmaking than hearty, exciting storytelling. Read the rest at Blu-ray.com

We all know Ralph Fiennes as one of the industry’s top talents — an actor of extraordinary skill and stamina, giving life to some of the screen’s finest tragedies and villains. After all, to remain a force of considerable malevolence in a role such as Voldemort in “Harry Potter,” played without the benefit of a nose, is a remarkable achievement. Quietly, Fiennes has been building steam as a director, with 2011’s “Coriolanus” storming across the screen as a particularly charged reworking of Shakespeare. And now there’s “The Invisible Woman,” which takes a tale of forbidden love and social decimation and turns it into fine art, with a beating heart that carries the viewing experience. Sumptuously made, with stellar performances from Fiennes and Felicity Jones, “The Invisible Woman” stuns with its cinematographic beauty and batters with its mournful examination of increasing isolation. Read the rest at Blu-ray.com

The last two decades has been rough for director Peter Hyams. With efforts such as “The Musketeer,” “End of Days,” and “A Sound of Thunder,” the helmer has experienced a creative downfall that’s all but destroyed his once fruitful career. In fact, his last passable picture was 1994’s “Timecop,” making a reunion with star Jean-Claude Van Damme for “Enemies Closer” understandable, bringing the action star in to liven up this limited thriller, hoping their chemistry has endured long enough to fuel another collection of chases, shoot-outs, and hand-to-hand combat. Approached with lowered expectations, and “Enemies Closer” is a reasonably engaging B-movie, benefiting from Van Damme’s nutty performance and Hyams’s dedication to cinematic economy. Surprises are few, outside of the eye-roll count, which is unexpectedly low. Read the rest at Blu-ray.com

“Gimme Shelter” has the appearance of Oscar bait that simply failed to reach its intended goal of award season consideration. The film represents the first official stretch for star Vanessa Hudgens, once the darling of the “High School Musical” pictures and recently a poseable plaything in Harmony Korine’s cross-eyed “Spring Breakers.” Losing the glamour and turning up the New Jersey accent, Hudgens truly breaks away from her sunny day screen persona, and while the work is often beyond her reach, she provides an interesting read of ache in “Gimme Shelter,” fighting to preserve her character’s point of view while writer/director Ron Krauss consistently undermines the effort with scattershot storytelling. Read the rest at Blu-ray.com

The title “Reasonable Doubt” suggests a legal drama with a thriller edge, keeping in step with a genre that’s become unpopular in recent years, with 2011’s “The Lincoln Lawyer” perhaps the most recent example of a courtroom-based hit. What’s surprising about “Reasonable Doubt” is how desperately it refuses cerebral pursuits, dropping elements of mystery and legalese to sprint ahead as an offering of suspense, and a poor one at that. Riddled with unanswered questions and problematic motivations, the picture is series of feeble performances and dreadful scenes trying to pass itself off as excitement, hoping to appeal to base sensibilities instead of teasing the viewer with provocative questions of guilt. Read the rest at Blu-ray.com

“Raze” is an exercise in screen savagery. It’s bound to attract some extra attention due to its large female cast, with horrifying violence typically the playground of men, making the picture a novelty in this day and age. However, it’s not a film to be taken lightly, as director Josh C. Waller (making his feature-length debut) approaches the material with a solemnity that’s penetrating, investing in raw aggression to snap viewers to attention, watching the characters beat one another into bloody pulps. “Raze” is strong stuff, but also briskly paced and interested in the psychological ramifications of such unrelenting brutality. Read the rest at Blu-ray.com

A high school reunion movie without the actual reunion? That’s what writer/director/star Michael Rosenbaum attempts to pull off with “Back in the Day,” a comedy tinged with nostalgia that supplies viewers with a subpar round of juvenile shenanigans and lackluster acts of pining. Rosenbaum’s intent seems pure enough, but his concepts for comedy and intimacy leave much to be desired, making the picture difficult to understand as it weaves through heartfelt confessions and fart jokes. The lack of an actual reunion is also a bizarre choice, with space for mingling and thirtysomething philosophy punted out of the picture to make room for unpleasant and unfunny nonsense. Read the rest at Blu-ray.com

“Devil’s Due” is the second of three found footage productions hitting theaters in January. What started as an innocent trend has now turned into a threat to the horror genre, with directors growing comfortable with the subgenre, but failing to do anything new with it. “Devil’s Due” is stale, derivative (a knock-off of “Rosemary’s Baby”), and largely uneventful, testing the patience of moviegoers as directors Matt Bettinelli-Olpin and Tyler Gillett elect to conjure a sense of rehearsed reality, only to skip any justification for the images on the screen. Of course, sizable scares would be enough to forgive the lethargy of the film, but the feature is missing those highlights as well, leaving ticket-buyers with more questions than chills. Read the rest at Blu-ray.com

Hollywood can’t quit Jack Ryan. The famous character from the books by Tom Clancy (who passed away last year), Jack Ryan have survived four adventures in global terrorism on the big screen, portrayed by Alec Baldwin, Harrison Ford, and Ben Affleck. Quality has ranged some (1990’s “The Hunt for Red October” is masterful, 1994’s “Clear and Present Danger” is not), but the core espionage experience has remained the same, resulting is a satisfying run for the franchise, even with all its sudden changes in creative direction. 2014 brings us “Jack Ryan: Shadow Recruit,” another attempt to revive the brand name for a new round of sequels, this time gifting Chris Pine the clipboard and the gun. Despite the occasional dollop of dopiness, the new Jack Ryan extravaganza carries itself confidently as an actioner, reworking the titular analyst to fit a tech-heavy world, with director Kenneth Branagh excited to stage a global nightmare for our hero to conquer. Read the rest at Blu-ray.com

It usually takes a few moments before the average action film gets up to speed and reveals its creative strength. “Ride Along” doesn’t waste any time, staging a mall shootout and car chase not before or after the opening titles, but during, pausing the movie to highlight the names of the professionals tasked with manufacturing the final product. Instead of taking care of the contractual business during a more appropriate time, director Tim Story elects to disrupt the momentum of the picture, crippling what’s already a pedestrian collection of lame motorcycle wipeouts, CG explosions, and flaccid quips. The ill-conceived opening of “Ride Along” is representative of the entire feature, which doesn’t seem to care about the specifics of chaos and comedy, only maintaining a vague presence to fill up a run time, never displaying a vibrant personality of its own. Read the rest at Blu-ray.com

In the current state of CGI animation, projects are either massive blockbuster entries with a regal voice cast or disposable cartoons with actors taking work to impress their kids. “The Nut Job” follows last Thanksgiving’s “Free Birds” in the forgettable category, with the potential of a spiraling 3D caper featuring squirrels and forest friends lost to the drudgery of formulaic screenwriting and a reliance on bathroom humor to keep younger viewers entertained. It’s a bright picture with a certain Looney Tunes energy (and a love for a 2012 K-pop hit), but it’s also a tedious comedy missing proper punchlines and inspired plotting, giving moviegoers something they’ve seen before, often in a most laborious manner. Read the rest at Blu-ray.com

Prison pictures, once the cornerstone of gritty cinema, don’t have it easy anymore. With the debut of HBO’s “Oz” in 1997, the standards of realism have been raised considerably, with any movie exploring the wearisome experience of incarceration required to have something of substance to support nearly two hours of screen time. “Jamesy Boy” offers the true story of James Burns, a juvenile delinquent whose mistakes cost him his formative years, but it’s not nearly enough of a journey to carry the feature, resorting to a non-linear structure to introduce surprise to a story that doesn’t contain any. Although it aims to dissect a trail of poor decisions and establish a horizon of self-awareness, “Jamesy Boy” lacks dramatic muscle and a credible lead performance. Read the rest at Blu-ray.com

Money for film production is scarce these days, requiring screenwriters to dream up new ways to stage suspense without traipsing all over the world. “Freezer” takes the challenge to an extreme, containing the action to a restaurant walk-in freezer, where the characters argue, accuse, and figure out a way to free themselves from an exceptionally cold prison. Where it lacks in scope, “Freezer” makes up for in sass, with Dylan McDermott having a grand old time here as a Willis-style wiseass, while the production organizes levels of punishment for the leading man, creating a passably entertaining B-movie that has enough spunk and gruesome behavior to forgive its dreadful ending. Read the rest at Blu-ray.com

For marketing purposes, the comedy “G.B.F.” is labeled as the new film from “The Director of ‘Jawbreaker’.” Technically, this is true, but it’s also the first work of fiction from Darren Stein since the release of the 1999 feature, a movie that tanked during its theatrical run. In the 14 years since the release of “Jawbreaker,” it appears Stein’s cinematic tastes haven’t changed much, as “G.B.F.” is practically a remake, once again slipping into the skin of superficial teens and their specialized problems, with self-conscious scripting and confused direction suppressing the production’s obvious spirit. Read the rest at Blu-ray.com

The suds flow in “Summer in February,” so much so that moviegoers could probably sneak in some laundry time while they wait for the film to play out its melodramatic tale of longing and woe. Although handsomely shot, the feature emerges from a tradition of irrational behavior and chest-heaving passion, yet director Christopher Menaul can’t seem to wake the material up, with the majority of the effort uncomfortably uneventful and tonally mismanaged. It’s a period excursion into unnecessary suffering, leaving a wide open opportunity for gloriously pained performances and a steady dispensing of anguish, but “Summer in February” just doesn’t register as intended. Read the rest at Blu-ray.com