Alice Englert has worked her way through acting assignments over the last decade, but now she wants to direct. The calling makes sense, as her mother is celebrated helmer Jane Campion, perhaps setting some example for Englert and her creative drive. “Bad Behaviour” is her feature-length debut, and Englert is determined to get as messy as possible with the slightly anarchic picture. A study of parenthood, love, and the heavy burden of trauma, the endeavor (also written by Englert) steps into the world of therapy and details the rush of feelings, with two passionate characters, a mother and daughter, enduring severe highs and lows during parallel experiences in the wild. “Bad Behaviour” doesn’t amount to much, as Englert is primarily pursuing an acting exercise with the movie, but small moments of focus makes some difference, suggesting the presence of a stronger film buried beneath all the showiness. Read the rest at Blu-ray.com

Cate Blanchett was last seen on screens in 2022’s “Tar,” where she delivered an exquisite performance in a difficult film, reinforcing her ability to handle all kinds of characters and moods. Before she goes the paycheck route with this summer’s “Borderlands,” Blanchett returns to challenging material with “The New Boy,” tasked with portraying a nun who witnesses a miracle occurring at a remote monastery, unsure how to process such an event. There’s a strange atmosphere to the feature, with writer/director Warwick Thornton looking to build a mystery with some supernatural elements, also delving into Australian history involving the collection and reprogramming of Aboriginal children. “The New Boy” isn’t always a well-balanced study of discovery, with its two-hour-long run time much too indulgent for the story it wants to tell. However, Thornton has an opening half that’s stocked with surprises, and there’s Blanchett, who creates a fascinating journey of faith and survival in this unusual picture. Read the rest at Blu-ray.com

Maiwenn has been acting for decades, but she’s probably best known for her role in 1997’s “The Fifth Element,” portraying Diva Plavalaguna (a.k.a. the blue opera singer). In an already highly bizarre film, Maiwenn managed to be one of its weirder additions, but she made an impression. She’s also been stacking directorial credits during her run, helming such efforts as 2015’s “Mon Roi.” Maiwenn shows a little more career ambition with “Jeanne du Barry,” which is a costume drama concerning the drive of a poor French woman trying to find independence in a world that has no patience for such desire. Created with a sizable scope and attention to costume and production design detail, “Jeanne du Barry” doesn’t radically subvert expectations, but Maiwenn oversees capable performances and some appealing emotional escalation. She gives the feature a little more feeling than anticipated, helping to melt some of the inherent iciness that comes with this type of endeavor. Read the rest at Blu-ray.com

Writer/director Tyler Perry does the one thing, and it’s made him a fortune. His particular love of melodrama has inspired everything he does, even when he made an effort to stretch as a storyteller with 2022’s “A Jazzman’s Blues.” The picture began with some promise, but ended up with the same messiness as all of the helmer’s projects. Perry sustains his fondness for unwieldly performances and poor plotting with “Mea Culpa,” which is the director’s attempt to make an erotic thriller from the 1980s, pitting a lawyer against pure temptation with an attractive client who may be a violent killer of women. “Mea Culpa” is ridiculous, but that’s the point of it, with Perry making the same film once again, giving viewers a look at irrational characters and tepid performances, while his writing feels like a first draft that was hastily brought to the screen, lacking basic logic, chilling turns, and a decent ending. Read the rest at Blu-ray.com

Hollywood isn’t big on taking risks, but they put their faith into director Denis Villeneuve, who wanted to bring Frank Herbert’s literary sci-fi epic, “Dune,” to the screen once again. Such ambition isn’t unheard of, but labeling the picture as “Part One” without a second chapter in the can was unusual, depending on audience response to trigger production on a sequel. The gamble paid off, with the success of “Part One” finally clearing the way for “Dune: Part Two,” which realizes the second half of Herbert’s novel, with Villeneuve returning to finish what he started a few years ago. Picking up where he left off, the helmer looks to increase the scale and depth of “Dune,” newly emboldened to dig into the fine details of this universe, examining its chess game of power while confronting the potency of authority as it bleeds into extremism. “Part Two” makes some curious moves in its final moments, but it remains as consistently enthralling as the previous chapter, and Villeneuve certainly puts on a visual show for fans, once again wowing with his technical achievements. Read the rest at Blu-ray.com

Jonathan Easley makes his screenwriting debut with “Red Right Hand,” and he’s not chasing originality with the material. It’s another one-man-army feature, this time offering star Orlando Bloom his moment as a once aggressive man is brought back into the darkness when a criminal kingpin threatens the health and happiness of his family. Easley looks to shake up the norm by setting the tale in the deep south, with this level of isolation creating a war zone for the story. He also looks to flavor the writing with defined characters dealing with past sins, endeavoring to add some emotional weight to the effort. Directors Eshom and Ian Nelms (who previously helmed the enjoyable Santa actioner, “Fatman”) do their best to support the slow ride to revenge, embracing the theatrical qualities of Easley’s work. “Red Right Hand” could certainly use a tighter edit, but what’s here has occasional power and an appreciation for violent escalation. Read the rest at Blu-ray.com

Joel and Ethan Coen are on a break. Maybe it’s a permanent one, who knows at this point, but the filmmaking siblings responsible for some incredible features during their decades of collaboration are currently operating solo. Joel went highbrow, taking command of 2021’s arty, stark “The Tragedy of Macbeth,” clearly out to flex his wings with a wildly different creative challenge. Ethan’s more interested in making a Coen Brothers picture, with “Drive-Away Dolls” basically tracing over tonal lines the siblings have previously drawn. It’s a dryly comedic, slightly madcap take on lovers-on-the-run cinema, and whatever Joel brought to the partnership is clearly missing from the endeavor. A labored exercise in zaniness, “Drive-Away Dolls” isn’t charming or funny, finding Ethan unable to cough up that old Coen magic in a movie that, well, he’s already made several times before. Read the rest at Blu-ray.com

“Ordinary Angels” is meant to be feel-good entertainment, providing a “based on a true story” tale concerning the kindness of strangers and the power of community support. It’s faith-based cinema from director Jon Gunn, who’s spent his career in the genre, last seen on screens with 2017’s “The Case for Christ.” Godly influence is a little less prioritized in the feature, as the story deals with a medical and fiscal crisis facing a widower trying to help his sick five-year-old daughter. There are a lot of buttons being pushed in this endeavor, but “Ordinary Angels” does make some effort to find nooks and crannies in characterization to explore. Screenwriters Kelly Fremon Craig (“Are You There God? It’s Me, Margaret”) and Meg Tilly (yes, that Meg Tilly) work to bring some points of pressure to the film, locating a few realistic emotional struggles to go with all the honeyed ways of Christian storytelling. Read the rest at Blu-ray.com

Director Luke Sparke has spent a chunk of his career trying to launch his own sci-fi franchise, overseeing 2018’s “Occupation” and 2020’s “Occupation: Rainfall.” The franchise didn’t take the world by storm, and Sparke’s filmmaking imagination was limited at best, trying to make his tight budgets look epic. He’s back to more human concerns with “Bring Him to Me,” which follows growing tensions between two men on a long drive to certain doom, with the passenger unaware of what’s coming for him. It’s a talky offering from screenwriter Tom Evans, who hopes to tap into damaged characters and their battle to express the pain that powers them. “Bring Him to Me” is something of a crime movie as well, but Sparke is better off pursuing the gut-rot elements of the material, which are always more compelling than showdowns. Read the rest at Blu-ray.com

Before my showing of “Bob Marley: One Love,” there was a brief video message from Ziggy Marley, one of Bob’s sons, offering a quick word about the family’s pride in the picture. There’s nothing inherently wrong with such promotion, but with such estate approval comes some skepticism about the movie, as the production needs the cooperation of Marley’s relatives to use his music in the feature, which doesn’t bode well for at least a passably authentic bio-pic. Suspicions are confirmed in “One Love,” with four screenwriters remaining incredibly careful with the details of this existence, ignoring most of it to highlight a few years in the life of the iconic singer and his battles with marriage, management, and declining health. Director Reinaldo Marcus Green (who also played loose with life details in 2021’s “King Richard”) is more interested in the aura of Bob Marley than the man himself, crafting a shallow understanding of behavior while emphasizing the music to please fans. Read the rest at Blu-ray.com

Sony is determined to do something with their rights to the Spider-Man Universe, emboldened to explore the comic book space after the massive success of two “Venom” pictures, which managed to entice the fan base back into theaters. 2022’s “Morbius” had the opposite effect, with the feature dismissed and fully ridiculed, identifying that name recognition alone isn’t enough to tempt the faithful. Sony takes another swing with “Madame Web,” which also plays in the “Spider-Man” sandbox without actually including the web-crawler, offering an origin story for a character with limited superhero appeal in a movie that makes every conceivable wrong move. From script to screen, “Madame Web” is a dire endeavor, with co-writer/director S.J. Clarkson in over her head with this stunningly clumsy exploration of strange powers, motherhood, and villainy. The film won’t be the death of superhero cinema, but it’s a good reminder that greater care is required when bringing these strange worlds to life. Read the rest at Blu-ray.com

We’ve had films about drone pilots before, and “Land of Bad” is in no mood to debate the moral and political choices involved in the service. Co-writer/director William Eubank (“Underwater,” “Paranormal Activity: Next of Kin”) is in Michael Bay mode with the endeavor, which delves into a mission gone wrong, finding a surviving soldier depending on his drone support to help escape a deadly situation in a foreign land. It’s more of a B-movie than a thought-provoking thriller, but Eubank does try to keep the endeavor technical and emotional in some ways, retaining human qualities between explosions and gunfights. “Land of Bad” is suspenseful for its first half, as the screenplay creates a sense of personality and stakes before the helmer cranks up the explosions and villainous hostility, which eventually diminishes the feature’s unusual intimacy. Read the rest at Blu-ray.com