Comparing 1992’s “Universal Soldier” to 2012’s “Universal Soldier: Day
of Reckoning” is impossible at this point, with the franchise far
removed from its original intent, despite the continued participation of
stars Jean-Claude Van Damme and Dolph Lundgren. The latest round in the
UniSol saga (the sixth film in the tattered franchise) is its darkest
yet, digging into psychosis and severe examples of violence to secure a
doomsday atmosphere for the story. Co-writer/director John Hyams aims to
bring a “Heart of Darkness” overlay to the proceedings, which is an
inspired choice, especially for a movie series that once prided itself
on summertime popcorn escapism. Now it just wants to scare the bejesus
out of the audience. Read the rest at Blu-ray.com

The found-footage experience has been a young man’s game in recent
years, allowing hungry filmmakers a chance to tell a horror story on a
shoestring budget, using the trendy subgenre to establish themselves.
Enter Barry Levinson, the 70-year-old director of such hits as “Rain
Man” and “The Natural,” who summons his years of experience and mature
tastes to construct “The Bay,” a genuinely frightening production that’s
easily the strongest, most plausible found-footage feature to date.
Blending real-world environmental woes with a few wicked jolts of gore
and public panic, Levinson cuts through the unrelenting nonsense that
plagues so many of these efforts, preying on everyday fears to fashion a
terror tale that slips right under the skin. Read the rest at Blu-ray.com

“The Details” marks a return to the screen for star Tobey Maguire, who’s
only been seen in two pictures since the 2007 release of “Spider-Man
3.” The feature also welcomes writer/director Jacob Aaron Estes back to
filmmaking, with his absence dating all the way to 2004’s muddled drama,
“Mean Creek.” This distance between productions is felt in “The
Details,” with its star and helmer feeling a little rusty, attempting to
conquer impossibly dark material with a semi-comedic spin, finding
themselves off-balance more often than not. There are a few highlights
worth a look and an accomplished supporting cast to ease the oddity
along, yet “The Details” doesn’t add up to much despite its rather
elaborate design of misery. Read the rest at Blu-ray.com

The opening of “Pusher” swiftly runs through a visual identification of
the main players as though the audience is already familiar with this
group of strippers, drug dealers, and goons. And maybe they are, with
the film a remake of a 1996 Danish production that launched the career
of director Nicolas Winding Refn. However, that’s unlikely, with the
introductory greeting perhaps the last true understanding of character
in this empty calorie viewing experience. There’s anxiety to spare with
this heated story of criminal survival, yet director Luis Prieto treats
the experience like a music video, with superfluous visual ornamentation
getting in the way of gritty suspense. “Pusher” is a sound and light
show that should have its power strip unplugged. Read the rest at Blu-ray.com

It’s easy to blame Nicolas Cage for his horrible career choices as of
late, especially when so many of them seem driven primarily by monetary
woes, with script quality and directorial competence secondary concerns
to the lure of the almighty paycheck. However, with “Stolen,” Cage is
one of the few bright spots in an otherwise offensively dopey thriller,
powering through the motions with a little of the old Cage spitfire
while the rest of the production relies on violence to make its blunt
points. “Stolen” is junk but it’s intermittently amusing junk, best when
locked in demolition derby mode, while Cage attempts to jazz up the
acting by swallowing his sighs to the best of his ability. Read the rest at Blu-ray.com

“Nature Calls” hopes to make its audience intentionally uncomfortable,
but it’s the unintentional uneasiness concerning certain elements of the
picture that immediately jump into view. Released during a time when
accusations of pedophilia share headlines with the Boy Scouts brand name
certainly doesn’t improve the feature’s comedic aspirations, while the
late Patrice O’ Neal takes on an eerie supporting role, playing a
frustrated father out to prove to his son that he’s not dead. Granted,
filmmaker Todd Rohal can’t be blamed for the movie’s unfortunate timing,
but he’s perfectly culpable for a crummy screenplay and tuneless
direction. Read the rest at Blu-ray.com

The first shot of “Skyfall” is an unfocused image of James Bond
approaching the camera. It’s a disorienting view, almost alien in
appearance, yet it serves a perfectly appropriate purpose for the spy
series as it struts into its 50th year of existence, displaying the
character as the stranger that was left at the climax of 2008’s abysmal
entry, “Quantum of Solace.” As actor Daniel Craig walks into view, we
finally see Bond as he should be: suave, secure, and ready for action.
“Skyfall” is a glorious return to form for a franchise that’s struggled
to develop its identity since its beefy star took over in 2006, feeling
ready to take on traditional 007 attributes while advancing the latest
Bond’s firm position as a blunt instrument in a triumphantly rock ‘em,
sock ‘em big screen extravaganza. Read the rest at Blu-ray.com

Cult films are a difficult thing to force on audiences. Typically,
cinematic junk needs time to cure in obscurity, developing a fringe
appreciation before widespread acceptance arrives, along with all the
necessary media attention. “Miami Connection” isn’t a DOA offering
that’s been basting in the juices of bad moviedom for decades now, it’s a
harmless, clueless 1987 Floridian production that’s been recently
plucked out of obscurity, paraded around on a brief theatrical tour so
film geeks and students of schlock can point and laugh at its awfulness,
developing a new midnight movie secret language. There’s no doubt that
“Miami Connection” is awful, but a celebratory, gut-bustin’ awful? Not
exactly. In fact, you might walk away feeling sorry for the amateurs who
pieced this effort together 25 years ago, with their collective mistake
coming back to haunt cinemas once again, reigniting the humiliation. Read the rest at Blu-ray.com

It’s not as though the works of Jean Shepherd have been refused numerous
radio, television, and movie interpretations over the years, but
submitting a direct sequel to the holiday perennial “A Christmas Story”
almost 30 years after its initial theatrical release? That seems like a
foolish idea, or perhaps an act of loathsome corporate teat-yanking with
a cinematic gem. Indeed, we are now faced with a follow-up to a bona
fide classic, and it happens to be the most environmentally conscious
feature I’ve come into contact with, unafraid to brazenly recycle
anything and everything about the 1983 film, hoping to entice a new
generation of Ralphie admirers. Shamelessly derivative and plasticized,
“A Christmas Story 2” will only have you wondering why you’re not
watching the original picture again. Read the rest at Blu-ray.com

I’m delighted that the RZA received an opportunity to create a valentine
to the fantastical kung fu films he enjoyed as a boy, a passion that’s
carried throughout his entire life. However, the RZA isn’t an actor, a
screenwriter, or a director, making his debut feature as a
triple-threat, “The Man with the Iron Fists,” an exceedingly leaden
picture, displaying a lack of finesse with seemingly obvious moviemaking
elements. Glacial, stitched together with hopes and dreams, and
submitting dreary action choreography and cinematography, “Iron Fists”
makes plenty of lousy creative decisions as it unfolds. However, its
most unpardonable sin is one of camp, treating the material with a
pronounced silliness that undermines all this supposedly hardcore
entertainment. Read the rest at Blu-ray.com

Robert Zemeckis took a detour in his directorial career in 2004,
electing to build a motion capture industry with the Christmas fable,
“The Polar Express.” “Beowulf” and “A Christmas Carol” followed soon
after, and it seemed that the man behind “Back to the Future,” “Forrest
Gump,” and “Cast Away” would never return to the realm of live-action
moviemaking. Although I was a huge admirer of the ambitious mo-cap
movement, “Flight” is first effort from Zemeckis with a distinctly human
touch in 12 years, and I missed this side of the helmer. Of course,
“Flight” is the complete opposite of a computer animated romp,
investigating a grim side to the human condition in a manner that
eschews heroism and sympathy, tearing apart a broken man for 135 painful
minutes, inspecting every last arrogant act of self-destruction. Read the rest at Blu-ray.com

Walt Disney Animation is targeting a very specific demographic with
“Wreck-It Ralph,” though the feature spends most of its run time
attempting to prove its worth to all ages. Despite its splendid
animation, with gorgeous colors and touchable details, “Wreck-It Ralph”
is going to be appreciated as a video game valentine, working to shower a
little love on the arcade culture of the past. Perhaps the younger set
won’t fully understand why their moviegoing guardians are laughing at
secret code jokes involving a Nintendo controller or going all giddy at
the sight of Q*bert, but they’ll still have fun with these vibrant
antics, packaged into a lively adventure with sizable laughs, a
delicious pour of nostalgia, and surprisingly emotive voice work. Read the rest at Blu-ray.com

“The Sessions” approaches an unusual story with a healthy sense of
humor, a commitment to the comfort of faith, and a surprisingly adult
appreciation of sex. While it may resemble yet another Oscar-bait
melodrama boasting fiery performances and a powerful message, “The
Sessions” plays largely low-key, working to create a human portrait of a
physically challenged man hoping to find a little bedroom adventure
before his time expires. Although the story seems like a rich
opportunity for crude shenanigans, the movie is unexpectedly blunt and
warmly sympathetic, displaying a refreshing commitment to the tense
nuances of a carnal odyssey before its eventual slide into overcooked
dramatics. Read the rest at Blu-ray.com

Director Alfred Hitchcock built an entire career out of obsessive
control, from his unparalleled filmmaking skills to his pop culture
persona, creating a literal silhouette that promised a specialized
offering of entertainment ahead. Hitchcock the legend is the stuff of
books, documentaries, and conversation. Hitchcock the man is another
story, rarely discussed throughout the years, with the sordid details of
his work ethic kept to a dull roar while cineastes celebrated his
cinematic achievements. 2012 welcomes two pictures endeavoring to expose
the helmer’s unsavory side, with November’s “Hitchcock” and “The Girl,”
a most peculiar HBO production that really rakes the icon over the
coals, and perhaps deservedly so. Read the rest at Blu-ray.com

“Vamps” certainly earns points for trying. It’s encouraging to see
writer/director Amy Heckerling this creatively animated again, after her
last two features, 2000’s “Loser” and 2007’s “I Could Never Be Your
Woman” were colossal failures, suggesting an onset of lethargy for a
filmmaker who made her name with such spunky hits as “Clueless,” “Fast
Times at Ridgemont High,” and “Look Who’s Talking.” Heckerling goes for
broke with “Vamps,” blending an anti-technology rant with a romantic
comedy about monsters, tossing in some flashes of horror and reverence
for classic cinema for good measure. It’s all over the place and in dire
need of an unbreakable funny bone, but I admire the movie’s pluck,
finding “Vamps” always aiming to please despite some rather severe
limitations in the screenwriting department. Read the rest at Blu-ray.com

“Fire with Fire” is a vigilante tale with a butch title (though
filmgoers of a certain age will undoubtedly recall a 1986 Virginia
Madsen picture of the same name and its screechy Wild Blue theme song),
though nothing especially harsh occurs during the movie. Attracting a
wide range of talent and celebrity, the effort has the goods to
transform into an unrelenting machine of thrills, smacking the audience
around with displays of intimidation and bloodthirsty revenge. The
actual feature spends much of its run time in neutral with actors either
unprepared for the demands of the subgenre or locked in paycheck mode,
stiffly working through tepid dialogue, tedious procedural events, and
dull romantic yearnings. There’s potential here for the taking, but
nobody in the production seems all that inspired to kick “Fire with
Fire” into overdrive. Read the rest at Blu-ray.com