In recent years, writer/director Tyler Perry has attempted to make a World War II film, an erotic thriller, and pulled his Madea character back into circulation after officially announcing his retirement. And now he’s attempting to make a Hallmark Channel-style study of burgeoning love in “Finding Joy,” working his typical fast-and-cheap filmmaking ways on what’s meant to be a cozy study of two emotionally wounded people getting close inside a remote cabin during a Colorado blizzard. Perry isn’t one to deeply think about his scripts, and “Finding Joy” definitely has the appearance of a first draft that went right into production. The picture isn’t romantic or amusing, it’s just boring, watching Perry stick with cliché and uninspired dialogue while trying to stretch a simple concept in the most fatigued ways. Like many of his movies, it’s forgettable, but here, the feature barely shows interest in itself, dragging to its inevitable conclusion. Read the rest at Blu-ray.com

“Is This Thing On?” is the third directorial outing for Bradley Cooper, who initially made a splash merging depression and music in 2018’s “A Star is Born.” For 2023’s “Maestro,” Cooper went for style and submersion into the creative mind, making something very awards-ready. His latest aims to be a small-scale story about people, moving away from large budgets and grandiose emotion to deal with the internal churn of a divorcing couple attempting to make sense of their break-up. “Is This Thing On?” is inspired by the life of ex-athlete John Bishop, but Cooper and co-writers Mark Chappell and Will Arnett (who also stars in the feature) are mostly out to find moments for the characters as they manage domestic issues and intimacy problems. The picture mostly plays like a filmed acting class exercise, as Cooper doesn’t seem to care about the logic driving the story, out to capture unguarded moments and relationship turmoil in a feature that’s both over and underwritten. Read the rest at Blu-ray.com

There have been a few attempts to bring the work of author Denis Johnson to the screen. In 1999, there was “Jesus’ Son,” and, more recently, director Claire Denis tried to do something with 2022’s “Stars at Noon.” Now there’s “Train Dreams,” which is an adaptation of a 2011 novella by the author, who attempted to create a story about memory and loss, and all the time that passes without humanity even comprehending it. It’s not material built for a cinematic interpretation, but co-writer/director Clint Bentley (“Jockey”) is up to the challenge, creating a poetic, elegiacal picture that keeps up with Johnson’s historical interests and atmospheric changes. “Train Dreams” is a specialty offering for those willing to experience a somewhat shapeless odyssey of the heart and mind, and Bentley gets it mostly right, creating a feature of deep emotion and true beauty. Read the rest at Blu-ray.com

“I Wish You All the Best” began life as a 2019 book by author Mason Deaver, who wanted to tell a story about a nonbinary character finding their way through their teenage years, facing all sorts of difficulties and doubt during a tumultuous time. Writer/director Tommy Dorfman attempts to translate literary ideas into a movie, and one capable of understanding the specificity of the topic and the universal feelings that orbit it. “I Wish You All the Best” is tender and gentle, handling ideas on a life lived freely with compassion as the main character seeks to better understand themselves. Dorfman delivers a sensitive picture about adolescent and familial concerns, and while the dramatic flow of the material isn’t always steady, there’s a lot here to appreciate, including approachable tone and invested performances. Read the rest at Blu-ray.com

Underdog boxing movies are plentiful, especially after the industry dominating success of 1976’s “Rocky” and its sequels, with the last 50 years of filmmaking working to recycle the formula to varying degrees of success. “Christy” is another tale of a nobody trying to be a somebody in the world of boxing, exploring the saga of Christy Martin, who enjoyed sporting glory during the 1990s. Screenwriters Mirrah Foulkes and David Michod (who also directs) have something to examine with Martin’s life and times, as she faced a lot more than some punches as a closeted lesbian female fighter married to a domestic abuser capable of tremendous evil. “Christy” deals with real-life situations of dangers and disappointment, but it doesn’t play like a bio-pic. Michod (“Animal Kingdom,” “War Machine,” “The King”) gives the endeavor an exaggerated atmosphere, with sections of the offering playing like a “Saturday Night Live” skit, while the rest is fairly conventional, making for an uneven look at a highly irregular life. Read the rest at Blu-ray.com

The film industry has been trying to turn actor Joel Kinnaman into an action star over the last decade, and nothing’s really taken hold. His last major starring effort was 2023’s “Silent Night,” a John Woo-directed offering of gunplay and explosions that played to empty theaters, but the system isn’t done with Kinnaman yet. He returns to the ways of screen survival in “Ice Fall,” which is kinda, sorta similar to the plot of 1993’s “Cliffhanger,” but screenwriters George Mahaffey and Steve Isles don’t have the budget to create an epic understanding of criminal activity and high-flying adventure. They simply take the missing cases of money idea and try to create a more reasonably priced actioner featuring a hunt for cash in the cold extremes of Montana. “Ice Fall” has the ingredients to be junky fun, but director Stefan Ruzowitzky can’t get momentum going, creating a picture that lacks a surprising amount of excitement and danger. Read the rest at Blu-ray.com

A story where an assassin is hired to kill another assassin, only to be targeted by additional assassins during a long week in New Mexico? It could be fun, but entertainment is hard to come by in “Exit Protocol,” which is the latest from director Shane Dax Taylor, who hasn’t had much luck with genre releases (including 2023’s “The Best Man” and 2021’s “Masquerade”), and doesn’t break his streak here. Screenwriter Chad Law (“The Flood,” “Til Death Do Us Part”) appears interested in summoning a little B-movie escapism with the feature, putting in the minimal effort when it comes to characterization and connections, stuffing in numerous shootouts to keep viewers sufficiently distracted. There should be enough here to deliver a passable good time, but “Exit Protocol” never catches fire as an actioner, and many of Taylor’s creative decisions are bewildering. Read the rest at Blu-ray.com

Sophie Tabet makes her feature-length directorial debut with “Stone Cold Fox,” and she’s elected to make a crime movie with some action-y moments. Co-scripting with Julia Roth, Tabet goes where many filmmakers have gone before, looking to make a peppy, stylish overview of criminal activity in a small town, highlighting the efforts of a young woman trying to free herself from all kinds of danger. “Stone Cold Fox” isn’t a particularly original endeavor, but the helmer is committed to making a peppy picture filled with strange characters and periodic bursts of physical activity. The offering is entertaining for the most part, though Tabet is a little shaky when it comes to the overall tone of the feature, which mostly plays candied while actually dealing with dark events the production doesn’t really know what to do with. Read the rest at Blu-ray.com

The Nuremberg Trials have been explored in many forms of media, with film and television productions often working to extract the dramatic intensity of the legal event. Director Stanley Kramer explored the tension in 1961’s “Judgment At Nuremberg,” and a 2000 miniseries starring Alec Baldwin, Christopher Plummer, and Brian Cox aimed to add its own take on the courtroom showdown. And now writer/director James Vanderbilt (who previously helmed the ridiculous 2015 picture, “Truth”) hopes to add his interpretation to the list, adapting Jack El-Hai’s book, “The Nazi and the Psychiatrist,” for a big screen examination of unusual relationships and the confrontation of evil. “Nuremberg” doesn’t color outside the lines, remaining dedicated to traditional dramatic entanglements and stern performances, and Vanderbilt is driven to draw parallels to today’s world of simmering malevolence, creating an intermittently engrossing study of psychology involved in an ambitious legal challenge. Read the rest at Blu-ray.com

The success of 2023’s “Poor Things” has certainly inspired director Yorgos Lanthimos to keep working. He quickly returned to theaters in 2024’s “Kinds of Kindness” (which died at the box office), and he’s right back on screens with “Bugonia,” also reinforcing his admiration for actress Emma Stone, who’s starred in all three pictures (also featured in 2018’s “The Favourite”). “Poor Things” was large in scope and imagination, but “Bugonia” remains closer to “Kinds of Kindness,” offering a puzzle-like viewing experience as it highlights mind games played by the main characters. It’s also a remake of sorts, using the 2003 South Korean film, “Save the Green Planet,” as inspiration, though the production tries to remain as Lanthimos-ian as possible, favoring a drier sense of oddity and intensity as a strange mission of heroism is tested by the boundaries of sanity. Read the rest at Blu-ray.com

After completing a stint in television last year with “The Sympathizer,” director Park Chan-wook returns to the big screen with “No Other Choice,” returning the helmer to his interests in sinister business previously explored in efforts such as “Oldboy,” “Stoker,” and 2022’s “Decision to Leave.” He’s back with a tale of employment disasters and panic, adapting a 1997 novel by author Donald Westlake (which was previously handed a cinematic interpretation by director Costa-Gavras in 2005), which tracks the horrors of a family man who loses his job, left to stew in the humiliation before recognizing he can go to extreme lengths to secure his next position. It’s a timely understanding of hopelessness, handed a darkly comedic spin by the helmer, who tries to make a mess out of the main character’s panic, taking “No Other Choice” into various violent and absurd directions. Read the rest at Blu-ray.com

Writer/director John-Michael Powell aims to create a neo-western with “Violent Ends,” which details the fragmentation of an extended family who’ve dedicated their lives to the production and trafficking of drugs in Alabama. It’s a cold-blooded endeavor that’s committed to tough confrontations and familial issues, with Powell working in a revenge saga to go with a story that’s loaded with characters and motivations. Perhaps clarity when it comes to connections isn’t always there, but there’s a hardness to “Violent Ends” that’s captivating, helping to create a few surprises as the main character seeks to find the source of his pain, coming up against ruthless people who don’t want him around. It’s not a one-man-army offering of brutality, but something appealingly messier, as Powell maintains an iciness to the picture that carries it to the final scene. Read the rest at Blu-ray.com

While production on “Anniversary” began in 2023, the feature has excellent timing, brought out for release during a tenuous time in America. The screenplay (by Lori Rosene-Gambino, making her debut) explores the unraveling of the U.S. after an authoritarian movement quickly takes command of the nation and its citizens, focusing on a family and how they deal with such a developing situation over the course of five years. There’s a lot going on in the picture, and director Jan Komasa (“Corpus Christi”) is ready to examine the meaty emotions in play as multiple characters gradually turn on one another. There are issues with the second half of the film, but “Anniversary” has provocative moments and invested performances, and Rosene-Gambino’s ideas on the downfall of America are eerily prescient, making for a periodically riveting sit. Read the rest at Blu-ray.com

Babak Anvari, the director of “Under the Shadow,” “Wounds,” and “I Came By,” goes minimalist for his latest, “Hallow Road,” which is scripted by William Gillies. The picture mostly takes place during a single panicked car ride, tracking growing concern from the parents of a young woman who’s involved in an accident on a long stretch of forest road. It’s a race to reach the scene, but Gillies has something more in mind for the endeavor, which develops into a study of marital ties, guardianship, and trauma as the miles tick by for the main characters. “Hallow Road” is not a major production, running just 74 minutes (before end credits), and it could very well work more interestingly on the stage. However, tension remains in the feature, as Anvari keeps his actors nicely agitated and Gillies provides an acceptable mystery to solve as the long drive develops new emotional challenges. Read the rest at Blu-ray.com

Former stuntman Art Camacho returns after the general disaster of 2023’s “Ruthless,” trying his luck in the realm of action cinema once again with “The Wrecker.” There’s nothing original about the screenplay (credited to Sophia Louisa, James Dean Simington, and Niko Foster, who also stars in the picture), which once again tracks a mission of revenge from an ex-military man of action who’s called into duty to right a major wrong in Las Vegas. Camacho doesn’t have much of a budget to really go wild with the endeavor, and it’s hard to get excited about some of the technical choices made. However, while far from a compelling film, “The Wrecker” has its moments, which instantly makes it better than most of the B-movie competition, putting Foster in hero mode with some unusual weapons. But don’t expect too much from the feature. Read the rest at Blu-ray.com

Erik and Carson Bloomquist love to make horror movies. The siblings have been very busy with genre work over the last three years, creating “She Came from the Woods” and “Founders Day,” and they jump right back into the fright business with “Self-Help,” which has certain moments of bloodiness and suspense. But perhaps not enough of the terrifying stuff. The new feature is an odd creation, as the Bloomquists look to examine the predatory ways of cult influence and family ties, attempting to blend the real-world struggles of trauma with some slasher cinema offerings. The endeavor has its appeal, collecting excitable performances and a handful of effective sequences. It’s just not all that intense, missing a more aggressive approach that might trigger a few genuine scares. “Self-Help” is oddly sedate for a Halloween-set chiller, but the Bloomquists have their moments. One just wishes there were more of them. Read the rest at Blu-ray.com