1991’s “Don’t Tell Mom the Babysitter’s Dead” didn’t do much damage at the box office during its summer run, but home video was very kind to the teen comedy. A cult following developed, creating a sort of secret handshake cinema event with movie quotes, but little was done with the brand name over the decades. The team at BET have finally cracked the seal on a remake, supplying an update of the now 33-year-old picture (ouch), largely retaining the plot of the original endeavor while adding a more modern take on humor. The ’91 film wasn’t fantastic, but it offered some edgy touches and a few strong performances. The do-over doesn’t even reach those modest achievements, with writer Chuck Hayward (TV’s “Dear White People”) and director Wade Allain-Marcus (“Die in a Gunfight”) delivering a largely lifeless and laugh-free viewing experience, failing to improve on the earlier feature. I wasn’t permitted to screen “Don’t Tell Mom the Babysitter’s Dead” for review this week, and now I understand why. Read the rest at Blu-ray.com

1991’s “Don’t Tell Mom the Babysitter’s Dead” didn’t do much damage at the box office during its summer run, but home video was very kind to the teen comedy. A cult following developed, creating a sort of secret handshake cinema event with movie quotes, but little was done with the brand name over the decades. The team at BET have finally cracked the seal on a remake, supplying an update of the now 33-year-old picture (ouch), largely retaining the plot of the original endeavor while adding a more modern take on humor. The ’91 film wasn’t fantastic, but it offered some edgy touches and a few strong performances. The do-over doesn’t even reach those modest achievements, with writer Chuck Hayward (TV’s “Dear White People”) and director Wade Allain-Marcus (“Die in a Gunfight”) delivering a largely lifeless and laugh-free viewing experience, failing to improve on the earlier feature. I wasn’t permitted to screen “Don’t Tell Mom the Babysitter’s Dead” for review this week, and now I understand why. Read the rest at Blu-ray.com

Director Luca Guadagnino is preoccupied with making sensual, violently charged features, recently on display in 2022’s “Bones and All,” where he sought to create screen poetry with a wild world of young love and cannibalism. There’s a change of setting for “Challengers,” but the material (scripted by Justin Kuritzkes) largely remains with ravenous characters out to devour and destroy one another, doing so in the realm of tennis players and their vicious insecurities. The endeavor is all flesh and fears, and Guadagnino is absolutely determined to draw out a relatively simple study of obsession for as long as possible, even when it hurts the movie. “Challengers” has some valuable ideas to share on the state of relationships and the crushing weight of sporting performance, but the helmer has little feel for dramatic rhythm with the effort, often slipping into soap opera mode when he’s not crafting perhaps the most overdirected picture since Michael Bay’s “Ambulance.” Read the rest at Blu-ray.com

2017’s “Woody Woodpecker” attempted to bring the cartoon creation into the real world with a CGI character messing with human activity. The picture didn’t receive much of a theatrical release, and it was awful, with co-writer/director Alex Zamm working hard to create a crude family movie that generally seemed to misunderstand the animated pleasures of the original Walter Lantz creation. “Woody Woodpecker Goes to Camp” also deals with bathroom humor, but there isn’t a scene like one found in the original film where Woody farts out his own theme song. That’s progress, and “Goes to Camp” is generally much better and more in command of Lantz-style entertainment than its predecessor. Director Jon Rosenbaum (“Cop and a Half: New Recruit,” “Benchwarmers 2: Breaking Balls”) doesn’t radically alter the concept of these new Woody Woodpecker adventures, but he’s somewhat in tune with slapstick mayhem and storytelling, making for a sit that’s easier on the senses and more likely to delight young viewers. Read the rest at Blu-ray.com

Nicolas Cage is usually the most dominant element of any feature he appears in. That’s just his natural speed, and it’s served him well, especially in recent years where he’s been tasked with making low-budget films as appealing as possible. For “Arcadian,” Cage remains as committed to the endeavor as possible, but he’s asked to play a parental figure, and one on a mission to keep his children safe from an apocalyptic situation. There’s a real feeling of fatherly concern in the picture, which Cage plays superbly, but “Arcadian” is more than just a vehicle for the star. Writer Michael Nilon creates a small-scale but suspenseful survival story, approaching the expectations for a monster movie from interesting perspectives. And director Benjamin Brewer contributes a dark understanding of threat in a rural setting, maintaining a compelling balance between genre achievements and more heartfelt moments among troubled characters. Read the rest at Blu-ray.com

As an actor, Johnny Knoxville hasn’t really achieved much in the way of professional respect. He’s been in a lot of T.V. shows and movies, but he’ll be forever known as the star of “Jackass,” with some of his best acting coming from opportunities to sell the questionable danger of certain pranks. Knoxville finds a meatier role in “Sweet Dreams,” which is a blend of an underdog sports comedy and a study of sober living challenges. Writer/director Lije Sarki doesn’t have grand plans for the picture, electing to work with smaller emotional moments and softball action, gathering a cast of comedians to help find the humor in just about anything. There’s little dramatic muscle to “Sweet Dreams,” but it does provide a few clear-eyed moments of reflection from what’s possibly some type of autobiographical point of view, and Knoxville nails select scenes of confession, showing range and realism in his best performance to date. Read the rest at Blu-ray.com

There’s an effort made in “The Greatest Hits” to do something a little different with the concept of the time travel movie. Writer/director Ned Benson (the little-seen “The Disappearance of Eleanor Rigby”) tries to balance the ways of fantasy and the bitterness of reality in the feature, which follows a woman’s drive to disrupt tragedy through the magical powers of music. “The Greatest Hits” takes love and loss very seriously, with Benson creating a melancholy film about desperation and healing. There’s a level of unreality to the endeavor, but the production does much better remaining in the realm of the real, exploring the mourning process and all the mental messiness involved with such a journey. The helmer gets lost when trying to present weirdness to the audience, but powerful feelings are in play throughout the picture, and lead Lucy Boynton does a commendable job capturing the slow drip of an emotional breakdown. Read the rest at Blu-ray.com

Marketing for “Civil War” is trying to sell a movie writer/director Alex Garland didn’t make. Trailers and T.V. spots display a more distinct understanding of American conflict and leadership, but Garland (“Ex Machina,” “Annihilation”) focuses on those sent in to capture the horrors of combat instead, highlighting the contributions and self-control issues of photojournalists during a divided time in the country’s history. “Civil War” doesn’t paint a larger portrait of disputes and it’s not too concerned with resolution. It’s more about the strangeness of the experience, with Garland clearly lifting from “Apocalypse Now” to inspire his own take on the madness of warfare. Striking imagery is periodically displayed in the feature, along with steady performances from the cast, finding Garland intermittently inspired to take this story somewhere at times, seeking to depict a special mindset that’s challenged by the growing insanity of a broken nation. Read the rest at Blu-ray.com

“Puffin Rock” was an animated television show that aired in 2015. The program was aimed at preschool audiences, looking to bring a little gentleness and animal activity to impressionable viewers. It was also created by Cartoon Saloon, the Irish studio responsible for magnificent films such as “Song of the Sea,” “The Breadwinner,” and “Wolfwalkers.” “Puffin Rock” has stayed in circulation and popularity due to its quality, and Cartoon Saloon revisits the series with a feature-length adventure, “Puffin Rock and the New Friends,” which is meant to reunite with familiar faces and establish new characters. The picture isn’t created to launch a major cinematic event, holding true to the tone of the original series with some upgrades in animation and a bit more suspense when it comes to storytelling. Perhaps the target demographic for the movie remains small, but anyone can genuinely enjoy “Puffin Rock and the New Friends,” which provides a brightly animated and honeyed voiced journey with charming characters and vibrant environments. Read the rest at Blu-ray.com

“Irena’s Vow” shares the story of Irene Gut Opdyke, who faced the intensity of World War II as a Polish orphan, soon coming into contact with Nazi leadership and desperate Jews as Europe was thrown into chaos. As events from WWII go, moviegoers have seen quite a few of these tales (including last month’s “One Life”), but director Louise Archambault (“The Bad Seed Returns”) finds a special sensitivity to the feature, which isn’t an epic about saving lives. It’s more of a survival film with some emotional ties, and the helmer manages to locate suspense while presenting a reminder of history’s darkness. “Irena’s Vow” is carefully handled and capably performed, with star Sophie Nelisse articulating the panic and concern of Irene’s experience, which found the young woman trying to pull off the impossible, protecting the innocent right under the nose of the Nazis. Read the rest at Blu-ray.com

A movie like “LeRoy, Texas” isn’t going to win any awards for originality. Writer/director Shane Atkinson (making his feature-length helming debut) returns viewers to the south, meeting dim characters stuck in a series of misunderstandings and betrayals, and there’s a suitcase full of money that’s gone missing, and everybody is interested in claiming it. Add in a body count and some exaggerated personalities, and Atkinson is pouring his filmmaking foundation in Coen Brothers land. Plot-wise, there’s not a lot to get excited about here, as the writing winds through story turns and crazy encounters without much in the way of inspiration. What’s more appealing are performances, finding the cast providing just enough commitment to make this tale of crime and heartbreak snappy at times, with some meaningful moments of understanding. “LeRoy, Texas” isn’t a rocket ride of bad behavior, but Atkinson handles select moments with suspense and silliness, wisely counting on the actors to do something compelling with his endeavor. Read the rest at Blu-ray.com

In 2021, there was “Blue Miracle,” with co-writer/director Julio Quintana overseeing an underdog story about sport fishing involving Latin characters and a supporting performance from Dennis Quaid. For 2024’s “The Long Game,” Quintana returns with basically the same movie, only this time he’s following the true story of the San Felipe High School Golf Team and their battles against competition and racism in Texas during the 1950s. And it also features a supporting performance from Dennis Quaid. “The Long Game” finds inspiration from a 2010 book by Humberto G. Garcia, and also dozens of sporting journey endeavors, with Quintana focused on making a picture that’s easily digestible while also touching on troubling times for post-war America and its relationship with bigotry. Surprises are minimal in the effort, but it does offer a heartfelt message on perseverance, attempting to provide viewers with a study of endurance while also highlighting golf achievements from young men facing adversity as they seek acceptance. Read the rest at Blu-ray.com

“Damaged” is a serial killer story, using the familiar approach of an obsessed cop on the case of a madman to inspire a few thrills to go with the usual in law enforcement investigation formula. Screenwriters Paul Aniello, Gianni Capaldi, and Koji Steven Sakai have an ending in mind with the material, but the journey to the final 15 minutes of the picture is quite tedious at times. Director Tery McDonough is a veteran of television (working on productions such as “Killing Eve,” “Better Call Saul,” and “Suits”), and he brings that sensibility to “Damaged,” which often plays like an extended episode of a T.V. program. There’s flatness here that’s dispiriting to watch, and early promise for a more emotionally complex chiller is left unrealized. There’s talent with the cast, but one gets the feeling professional interest in anything here was limited at best, creating an unquestionably somber but lifeless viewing experience. Read the rest at Blu-ray.com

Dev Patel was once a cheery young actor who made his mark in pictures such as “Slumdog Millionaire” and “The Best Exotic Marigold Hotel.” Patel has worked to change his cinematic presence as he matures, aiming for harder hits and challenging parts, including his participation in 2021’s “The Green Knight.” Making his feature-length directorial debut, Patel aims to shake up the senses with “Monkey Man,” which presents a gut-rot tale of revenge in India, with the helmer endeavoring to use as much local culture and troubles to infuse the movie with a distinct personality. It’s an actioner, but Patel and co-writers Paul Angunawela and John Collee aren’t making a wall-to-wall bruiser. They take their time with the work, giving viewers a clear path to vengeance and a feel for Hell as the lead character experiences a transformation of his own while seeking to destroy those who’ve ruined his life. “Monkey Man” is made of chaos, and that fury tends to be exhausting as the effort enters its second hour, but Patel definitely has a vision for the film, with this concentration on darkness sporadically thrilling to watch. Read the rest at Blu-ray.com

The film is titled “The First Omen,” but it’s really the sixth feature in a series that began in 1976. Director Richard Donner managed to sustain post-“Exorcist” fervor for antichrist activity into a major hit, and producers and studios have been chasing that high ever since, including a crummy 2006 remake and even a short-lived 2016 television show. There’s been a lot of “Omen” over the years, but screenwriters Tim Smith, Keith Thomas, and Arkasha Stevenson (who also directs) hope to rejuvenate the brand name with a prequel, going back to the early 1970s for an origin story involving the creation of ultimate evil. “The First Omen” doesn’t bring anything new to the saga, covering old news while trying create a backstory capable of inspiring fresh sequels, forcing Stevenson to get intensely visual with the endeavor, often sacrificing pace in the process. There’s some voltage in select scenes of physical corruption, but the picture doesn’t pack much of a punch, and it doesn’t come near the strange eeriness Donner (joined by composer Jerry Goldsmith) managed to create nearly 50 years ago. Read the rest at Blu-ray.com

Damian Hurley doesn’t have many industry credits, but he does have access to an established actress, which certainly helps to launch a directorial career. Hurley’s mother, Elizabeth (best known for her work in the “Austin Powers” series), is one of the stars of “Strictly Confidential,” which has designs on becoming an erotic thriller with turns of plot to keep viewers interested and some sexual activity to heat up the screen. The screenplay (also credited to Damian Hurley) is mostly focused on the development of a mystery involving troubled, duplicitous characters, and it also serves as study of seduction in many forms. Hurley doesn’t have the experience to bring out the De Palma-esque intention of the writing, offering a lifeless, bloodless examination of a few emotional breakdowns. The helmer doesn’t push the picture’s sauciness and he’s mostly fatigued when it comes to blowing minds, but “Strictly Confidential” does have the novelty of a son exploiting the sex appeal of his mom for the benefit of an otherwise uninteresting whodunit. Read the rest at Blu-ray.com