Arriving in time for Valentine’s Day viewing opportunities is “At Midnight,” which hopes to be a nice and cozy option for people on the hunt for tender tales of love. It’s also a getaway movie as well, offering lush tropical locations to help with heat during the winter season. The screenplay (by Maria Hinojos, Giovanni M. Porta, and Jonah Feingold, who also directs) hopes to inspire some sweetness, mixing the tingles of new love between an actress and the hotel employee who becomes something special to her with some mild film industry pantsing, detailing all the egos involved in show business. “At Midnight” isn’t ambitious, but it starts off with a lot of charm, with leads Monica Barbaro and Diego Boneta carrying decent chemistry and commitment to the material. Unfortunately, the endeavor doesn’t trust its inherent appeal, eventually turning to crushing predictability to find an ending. Read the rest at Blu-ray.com

As a screenwriter, Aline Brosh McKenna made her mark with romantic comedies featuring a distinct female point of view. She helped to bring “The Devil Wears Prada” and “27 Dresses” to the screen, finding her niche in the industry with safe entertainment, making sure conflicts were easy on the senses and characters followed a defined arc to happiness. McKenna makes her directorial debut with “Your Place or Mine,” and she’s not out to challenge herself with the project, scripting a feature that’s basically the same as the ones she’s done before. Only here there’s a central crisis of distance, with the lead characters managing matters of the heart on separate coasts, going on different personal adventures for most of the run time. “Your Place or Mine” isn’t thrilling, but it’s easily digestible with capable performances from Reese Witherspoon and Aston Kutcher, who have the advantage of not sharing many scenes, allowing the material to stay away from dispiriting formula for a surprising amount of time. Read the rest at Blu-ray.com

Actor Dave Franco made his directorial debut with 2020’s “The Rental,” going against his comedic instincts to craft an effective chiller about the dangers of home rentals and relationships, emerging with a surprisingly unsettling feature. Franco returns with “Somebody I Used to Know,” which doesn’t add to his interests in creep-out entertainment, instead keeping things slightly silly with a comedy about a woman struggling to deal with a breakup and unfulfilled career dreams as she sabotages a wedding. Franco and co-writer Alison Brie try to bring as much edge as possible with this premise, working to keep the characters real as wackiness is soon paired with emotional gravity. “Somebody I Used to Know” has a way of neglecting the needs of tonal balance, but it’s a highly amusing endeavor with a cast that’s come to play. Read the rest at Blu-ray.com

12 years ago, screenwriters Brian Gatewood and Alessandro Tanaka created “The Sitter.” It was a crude, lame comedy, and their last feature work for quite some time, detouring to television with work on “Dice” and “Superstore.” Getting the funny business out of their systems, the pair return with much more serious work in “Sharper,” looking to expand their career with a solemn study of psychological gamesmanship, trying to rethink 1990’s “The Grifters” for a 2023 audience. Gatewood and Tanaka construct a tricky picture with troubled characters, and they have an ally in director Benjamin Caron, with the T.V. helmer working extremely hard to make sure the movie carries a defined cinematic sheen. “Sharper” is a puzzle, and one determined to remain a step ahead of viewers. If you’re sensitive to spoilers of any kind, it’s best to stop reading here, as this increasingly disappointing film is nothing but twists and turns. Read the rest at Blu-ray.com

Just over a decade ago, “Magic Mike” rolled into theaters offering a boisterous time to viewers interested in the moves of male strippers, with writer Reid Carolin hoping to support all the gyrating with personal problems facing the characters. The movie was modestly budgeted and a major hit, giving star Channing Tatum and director Steven Soderbergh a shot at creating a franchise. Audiences were a little less interested in 2015’s “Magic Mike XXL,” but Tatum has managed to make a business out of this world, creating a stage musical and a reality T.V. show, and now he’s ready to return to shirtless duty with “Magic Mike’s Last Dance.” Soderbergh and Tatum attempt to turn away from pranks and aimlessness with the second sequel, hunting for a “let’s put on a show!” vibe with this take on the formation of a theatrical production, hoping to merge some physical artistry with grind-happy sequences in what’s easily the best installment of the trilogy. Read the rest at Blu-ray.com

Co-writers Carson and Erik Bloomquist aren’t trying to reinvent the wheel with “She Came from the Woods,” presenting a horror film set at a summer camp, which is a location repeatedly used in the genre. What they want to do with the great outdoors is make a slightly cheeky chiller about an evil presence on the property, hoping to have some bloody fun with this mildly exaggerated take on terror entertainment. And it works, mostly, with the screenplay noticeably hustling when it comes to introducing characters and a spooky history to decode, and there’s enough physical activity to give the endeavor some more animated sequences. “She Came from the Woods” is capably handled by director Erik Bloomquist, who pays tribute to the history of nightmare cinema while also hoping to contribute to it, coming up with an engaging romp involving malevolent spirits and family strife. Read the rest at Blu-ray.com

15 years ago, Carter Smith directed “The Ruins.” It was a particularly nasty chiller, and in all the right ways, promising big things from the helmer and his love of genre entertainment. Smith’s career path didn’t take him to expected places, but he returns to horror events with “Swallowed,” a small-scale terror experience involving drug mules, mysterious bowel activity, and a strange imprisonment. Also handling screenplay duties, Smith keeps things manageable with the effort, which is basically contained to a few rooms and features only a handful of characters, looking to inspire suspense in more intimate ways. He gets halfway there in the picture, which starts out strong, promising ghoulish developments to come. Such extremity doesn’t arrive in “Swallowed,” but the build-up to agony is compelling enough to pass, with Smith skilled at launching a bizarre endeavor, but less confident when it comes to ending it. Read the rest at Blu-ray.com

“Seriously Red” is a film with a useful message to share about the importance of self-esteem, but it’s sold via the world of celebrity impersonators, with all the strangeness of that lifestyle competing with the writing’s more heartfelt ideas. Director Gracie Otto has quite a creative challenge on her hands, trying to make sense of screenwriter/star Krew Boylan’s ideas on the sensitivity of the human heart and the pageantry of stage performance. “Seriously Red” has a lot going on, with Boylan attempting to generate an explosive sense of living and self-examination. She achieves a level of craziness connected to the tribute performer lifestyle, but the oddity of the endeavor often obscures its valuable understanding of a troubled mind, with the whole picture a bit too animated for its own good. Read the rest at Blu-ray.com

“Disquiet” plays like a video game. There are characters dealing with their handle on reality, set loose inside a contained setting, forced to process all sorts of violence coming their way. However, this is a film, the latest from writer/director Michael Winnick, who’s best known as the helmer of “Code of Honor,” a 2016 Steven Seagal picture. Winnick doesn’t have a large budget for “Disquiet,” attempting to generate a brain-bleeder with this tale of confused people trapped inside a hospital, tasked with sorting out their memories before they handle their escape. Throw in monstrous types and dangerous connections, and the production has the making for a mildly diverting B-movie. Winnick doesn’t get that far, doing much better with questions instead of answers, which gives the opening half of the feature some hustle, but even that starts to wane once the endeavor is forced to make sense of it all. Read the rest at Blu-ray.com

With 2021’s “Old,” director M. Night Shyamalan went small, trying to keep making movies during lockdown days by containing the bulk of a story to a single location, and one away from the rest of humanity. The picture was profitable but was devoid of suspense, as Shyamalan stuck with his usual bag of tricks, turning a weird and twisty film into a predictably idiosyncratic one, bringing out the worst from the helmer. “Knock at the Cabin” continues Shyamalan’s small-scale screen adventuring, this time taking on an adaptation of Paul G. Tremblay’s novel, “The Cabin at the End of the World,” which offers a biblical showdown in the middle of the woods, forcing the production to come up with something more than Tremblay’s book to satisfy viewers expecting more bang for their buck, and confident control of screenwriting isn’t Shyamalan’s forte. Read the rest at Blu-ray.com

In 2006, writer/director Luc Besson took a break from his usual interests in action and adult-minded fare to create one for the kids. “Arthur and the Invisibles” (titled “Arthur and the Minimoys” in Europe and beyond) didn’t make much of an impact during its initial theatrical release, but Besson was determined to do something with this brand name, which was originally a book and became a mild licensing sensation, with games, toys, and even a theme park ride tasked with expanding the fantasy feature, which was eventually joined by two sequels. If there was “Arthur”-mania, I’m sure most people missed it, but such devoted fandom makes up the plot of “Arthur Malediction,” which transforms the tale of tiny heroes and villains into a bloody slasher film that has very little to do with Besson’s original creation. This is a low-budget genre exercise from director Barthelemy Grossmann, while Besson assumes screenplay duties, looking to have some fun with the world of “Arthur and the Invisibles” without actually doing anything with the premise or characters. Read the rest at Blu-ray.com

Screenwriters John Glosser, Joe Russo, and Chris LaMont look to explore the ways of crime and family with “The Locksmith,” a noir-ish take on a quicksand-like dilemma facing a broken man dealing with a past filled with guilt. The writing isn’t razor sharp, but it does take care to examine various characters stuck in unwinnable situations, offering some level of attention to personality and developing distress. “The Locksmith” is a smaller film, without major dramatic firepower, but it delivers a proper sense of alarm with the lead character and his bad habits, and director Nicolas Harvard (making his helming debut) keeps things compelling, managing turns of plot and suspenseful confrontations. He also pulls a semi-interesting performance out of Ryan Phillippe, who does surprisingly well with his take on dented nobility. Read the rest at Blu-ray.com

Frank Grillo typically plays tough guys, and he especially likes playing them for writer/director John Swab. “Little Dixie” is their latest collaboration, following the recent “Body Brokers” and “Ida Red,” with Grillo returning to duty as a man driven to collect his daughter from a Mexican cartel kidnapper, with the ransom an especially gruesome demand. “Little Dixie” is deeply violent material from Swab, who’s after a gritty revenge thriller with a more complicated sense of position for the characters, who aren’t simply black and white figures, but stuck in something more dangerous for all. Swab provides some blunt brutality in the endeavor, which takes the shape of a western at times, playing to Grillo’s strengths as a screen brutalizer, but the rest of the picture isn’t as convincing, with Swab handling iffy supporting performances and dramatic asides that tend to distract from the core conflict. Read the rest at Blu-ray.com