In 2003, director F. Gary Gray found career success with his remake of “The Italian Job.” The feature found an audience in theaters and exploded on DVD, giving the helmer industry viability when he needed it. After taking a professional hit with 2019’s “Men in Black: International,” Gray is back in the thieving game with “Lift,” which details the work of professional bandits aiming to steal a fortune in gold from an airplane in flight. Screenwriter Daniel Kunka (“12 Rounds”) doesn’t stray far from formula with the material, creating a target for the team and time to explore their way of doing business. There are no real surprises with “Lift,” which often departs from the realm of the real, but Gray keeps the endeavor on the move, sticking with the basics in heist cinema. He provides a flashy ride of breakthroughs and setbacks, and he keeps the effort to a 95-minute-long run time (before end credits), staying mercifully short to help digest semi-enjoyable nonsense. Read the rest at Blu-ray.com

Two decades ago, there was “Mean Girls.” Screenwriter Tina Fey found her way to a 2002 book by Rosalind Wiseman, bringing the world of cliques and teen behavior to the big screen, using the ways of exaggeration to encourage laughs. The picture did well enough at the box office, but “Mean Girls” went on to capture pop culture dominance in a surprising way, launching catchphrases, parodies, a 2011 sequel, and even a line of Toaster Strudel. In 2017, “Mean Girls” became a musical, eventually making the journey to Broadway, aiming to celebrate the original film and give it a fresh spin of singing and sassiness. And now there’s “Mean Girls,” which looks to hook fans of the 2004 feature with an update of hallway warfare, only now there’s song and dance to express hidden desires and angry feelings. And directors Samantha Jayne and Arturo Perez Jr. bring real life to the material, committed to preserving a bright energy and charming broadness to the musical, which also scores with its soundtrack and delightful performances. Read the rest at Blu-ray.com

David Ayer has recently directed “The Tax Collector,” “Bright,” and “Suicide Squad.” Kurt Wimmer has recently scripted “Expendables 4,” “The Misfits,” and “Children of the Corn.” This is not a partnership most moviegoers would want, but “The Beekeeper” pairs the men for a study of revenge, sold with a lot of violence, terrible dialogue, and poor performances. It’s a one-man-army event starring Jason Statham (who’s appeared in five films over the last year), and he's made plenty of these pictures, but “The Beekeeper” is certainly one of the worst. It’s not exactly an acting challenge, with the endeavor merely asking Statham to growl his lines, but the lights are certainly out for the star during the run time, with Wimmer straining to create a connected game of villainy and insect-laden motivation for the lead character, while Ayer once again goes the hyperactive route with his action, failing the thrill with his empty sense of style. Read the rest at Blu-ray.com

Jake Johnson, who made a name for himself as an actor on the television show “New Girl,” makes his feature-length directorial debut with “Self Reliance.” In fact, he’s in creative control with the project, also writing the movie, co-producing it, and taking the starring role. And what does Johnson want to do with the opportunity? He elects to make a comedy about a man facing his own mortality, using this reality to deal with most of his personal issues. It’s not a particularly original dramatic plan, but “Self Reliance” twists formula, adding a manhunt premise for a game show to help intensify the situation and bring in strange events to goose the comedic potential of the endeavor. And Johnson scores with the weird film, crafting a very funny and somewhat sincere understanding of panic in both a physical and psychological sense, which provides a decent ride of goofy neuroses and kooky personal interactions. Read the rest at Blu-ray.com

We don’t see many of these anymore. Screenwriters Mike Benner, Jared Logan, and Charles A. Pieper look to raise a little hell with “Destroy All Neighbors,” which is a strange blast of violence and dark comedy, with heavy emphasis on madness and makeup effects. Director Josh Forbes (“Contracted: Phase II”) is in charge of this cinematic circus, and his job is to find some level of tonal stability to help viewers get into the mood of the endeavor, which isn’t afraid to go just about anywhere with its macabre visuals. “Destroy All Neighbors” is meant to be a roaring good time with practical effects and screen craziness, and it definitely has inspired moments of insanity. The picture as a whole is a little too much to endure at times, but creativity is plentiful and humor remains intact in this exploration of overkill. Read the rest at Blu-ray.com

As filmmakers increasingly turn to artificial intelligence for dramatic inspiration, “T.I.M.” dares to go a little smaller with its vision of robotic control. A.I. has been used to launch a few epics in the last year, including “Mission: Impossible – Dead Reckoning” and “The Creator,” but the new picture is mostly contained to domestic spaces, following the influence of an A.I.-powered servant who’s becoming a little too attached to one of his owners, working to understand the power of obsession that’s corrupted its system. Writers Sarah Govett and Spencer Brown (also making his directorial debut) aren’t committed to a full-blown horror endeavor with the movie, going more for a general creepiness as stalker cinema meets a few futureworld touches. “T.I.M.” lacks chills, but it’s held together by a decent cast and a general atmosphere of unease, working to reach viewers already on edge about the heavily surveilled world we live in. Read the rest at Blu-ray.com

We’ve come a long way in 45 years. In 1979, Monty Python had their fun with biblical ideas and characters in “Life of Brian,” and they walked right into a storm of controversy for their efforts, facing those practiced in the ways of outrage working to dismiss a sharp and enjoyably goofy take on the path of Heavenly light. Today, there’s “The Book of Clarence,” with writer/director Jeymes Samuel (“The Harder They Fall”) pursuing a similar tone of irreverence with his take on the power of Jesus, and I don’t believe anyone is going to raise much of a fuss with this release. “The Book of Clarence” is silly, but also deadly serious about the mysteries of faith, with Samuel paying tribute to biblical epics of old with his study of a slacker becoming a messiah. The helmer really tries to put on a show with this uneven endeavor, which lands somewhere between a lame “Saturday Night Live” sketch and an earnest celebration of spirituality. Read the rest at Blu-ray.com

“Night Swim” began life as a little-seen three-minute-long short film from 2014, and now, a decade later, it’s a 98-minute-long picture looking to dominate multiplexes in the horror-friendly month of January. That’s quite a leap for writer/director Bryce McGuire, who’s tasked with building an entire world around the idea of a haunted swimming pool and all the evil contained within, searching for fresh victims. McGuire doesn’t have a particularly strong idea driving “Night Swim,” but he has an opening half, dealing with the mysteries of the semi-deep and introducing a collection of troubled characters forced to deal with the wicked pool and its weird way of taking lives. It’s the rest of the feature that quickly loses consistency, finding the screenplay’s pass at explaining everything nowhere near as interesting as its ambiguity, with the mystery at the heart of the endeavor failing to pay off a decent set-up. Read the rest at Blu-ray.com

After receiving some on-the-job training as a director on his television show, “Schitt’s Creek,” Daniel Levy pursues a feature-length story to tell with “Good Grief.” Also claiming an acting role and screenplay credit, Levy goes triple threat with the small-scale study of personal loss and all the shock it provides, portraying a man who learns more about his husband after his unexpected death. It’s the stuff of soap opera cinema, but Levy endeavors to keep the picture as down to earth as possible, investing in characterization, not sharp turns of surprise, also setting a cozy mood as the story travels to Paris for most of its run time. “Good Grief” isn’t always something that jumps off the screen, but Levy remains confident with tone and performances, surrounding himself with talented actors invested in the challenge of finding a path through the nebulous ways of the writing. Read the rest at Blu-ray.com

Mads Mikkelsen has created a career out of playing steely men with fierce determination to achieve their goals. And he’s excellent at it, becoming one of the top actors working today, giving such hardness subtle emotionality while commanding the screen. He returns to business with “The Promised Land,” which finds Mikkelsen in a period piece, portraying a man of tradition ready to transform seemingly barren land into a farm, coming up against those who doubt his commitment and those who stand in the way of his success. “The Promised Land” is an adaptation of a book by Ida Jessen, and Mikkelsen reteams with his “A Royal Affair” director, Nikolaj Arcel (last seen with the 2017 misfire, “The Dark Tower”), for this examination of endurance in the world of agriculture and class divide. The material doesn’t boil over into sustained acts of violence, which feels like a missed opportunity, but Arcel sustains gripping drama during the run time, wisely leaning on his star to provide a nuanced sense of unease to boost suspense. Read the rest at Blu-ray.com

The saga of Uruguayan Air Force Flight 571 has been the subject of many media explorations, including films such as 1976’s “Survive” and 1993’s “Alive.” It’s a story of unbelievable endurance, touching on the basics of human spirit, faith, and brotherhood, and there’s a more unsavory side to the tale, which is usually the primary focus of most analysis concerning this disaster. Co-writer/director J.A. Bayona doesn’t shy away from offerings of cannibalism that come into view midway through the experience, but he’s after a more specific understanding of sacrifice with “Society of the Snow,” which is based on a book by Pablo Vierci. Bayona (making his first picture since 2018’s “Jurassic World: Fallen Kingdom”) finds the intimacy of the event, aiming to strip away all sensationalism to best understand the true struggles and sorrows of the survivors, trying to retain as much humanity as possible for a tale that’s primarily known for its most gruesome turns. Read the rest at Blu-ray.com

Two years ago, Michael Caine announced his retirement from acting, electing to exit the business with “Best Sellers,” a passable but unremarkable comedy largely supported by the iconic performer’s skill. Apparently, such a decision was premature, as Caine is back on screen in “The Great Escaper,” which is based on the true story of Bernard Jordan, an elderly man who elected to leave his care facility and attend a D-Day commencement ceremony in France in 2014. It's a peculiar tale well suited for Caine’s thespian gifts, and he does exceptionally well in the part, portraying a determined man dealing with scars from the past. It’s a more appropriate farewell for Caine, joined by the late Glenda Jackson, who’s also marvelous in this study of guilt and aging, finding director Oliver Parker (“An Ideal Husband,” “St. Trinian’s”) wisely staying out of the way when it comes to the grace of his leads. Read the rest at Blu-ray.com

Co-writer/director/star Katie Burrell attempts to bring back the ski movie with “Weak Layers,” which follows the misadventures of a young woman trying to get her act together during a 72-hour filmmaking competition. Stories about the sport are few and far between these days, and while the heyday of the 1980s and ‘90s isn’t resurrected for the endeavor, Burrell does conjure mild appeal with the effort. The writing (Burrell is joined by Andrew Ladd) doesn’t actually have much interest in the ways of mountain activity, preferring to remain with the characters and their formulaic experiences, with the helmer attempting to create a more emotionally engaging feature with lovable, rascally personalities. “Weak Layers” is most tiresome when pursuing the expected, doing better with ski town atmosphere and maturation challenges, with Burrell capturing the bustle of the area and a few universal concerns about future plans. Read the rest at Blu-ray.com

Writer Brian Buccellato looks to start a franchise with “The Painter,” offering a superspy actioner featuring a main character with unusual sensorial abilities. The idea is a mild take on “Mission: Impossible”-type events, but the reality of the budget can’t help the film break through to the big time. Director Kimani Ray Smith uses his years in the stunt performer game to boost the endeavor’s visceral might, offering a steady stream of physical activity and showdowns to help the feature locate some excitement. There’s little in the way of invention in “The Painter,” which remains a VOD-type viewing experience with limited funds to pay for locations and sets, but Smith gets something going with Buccellato’s weirdness, creating an hour of decent B-movie adventure. The final act breaks the picture’s spirit, but there’s a bit more momentum to the effort than what the competition usually offers. Read the rest at Blu-ray.com

“He Went That Way” opens with a note that “This really (mostly) happened,” but one has to believe the whatever true story the feature is based on is almost certainly more involving than this picture. Screenwriter Evan M. Wiener hopes to stir up some oddity with the tale of a man, his chimp companion, and the killer they’re taking across the country in 1964, creating a relatively simple study of forming relationships during a particularly eventful road trip for the main characters. Director Jeffrey Darling (cinematographer of “Young Einstein,” who passed away in 2022) has an odd tonal challenge with “He Went That Way,” straining to make something threatening and ridiculous, also working on the inner lives of the players. The helmer doesn’t do very well with the strangeness of the endeavor, which wrestles with uneven performances and general lethargy, never reaching its creative goal to be interestingly bizarre. Read the rest at Blu-ray.com

Director Renny Harlin returns with “The Bricklayer,” which is meant to launch the cinematic adventures of Steve Vail, an ex-government agent who’s been exposed to too much while on the job, looking for peace in the construction industry. As it always goes with these things, Vail is pulled back into the muck of paranoia, double-crosses, and violent attacks, with author Noah Boyd providing literary inspiration for screenwriters Hanna Weg and Matt Johnson, who attempt to bring the excitement of the page to the screen. Harlin isn’t the same action authority he once was, and “The Bricklayer” doesn’t supply much of a jolt for viewers. It’s fairly generic, with star Aaron Eckhart tasked with creating a growly one-man-army figure for the helmer to bash around, but if you’ve seen one deadly encounter, you’ve seen them all here, finding the picture repetitive and surprisingly flat when it comes to matters of growing threats and past relationships. Read the rest at Blu-ray.com