“Alice, Darling” is a story about domestic abuse, but director Mary Nighy doesn’t linger on the violence of the situation. She uses such tension in other ways, working with screenwriter Alanna Francis to best comprehend a level of dehumanization involved the in the eponymous character’s battle with herself, making efforts to achieve a level of exterior normality while she disintegrates within. Also prioritized by the material is an examination of friendship, which gradually takes command of the picture, exploring the ways close relationships struggle with communication and deliver on protection when necessary. Nighy gets a little carried away trying to bring visual poetry to the feature, but “Alice, Darling” is a haunting effort that eventually finds the heart of the situation, capturing the intensity of fear and the liberation of love. Read the rest at Blu-ray.com

Jesse Eisenberg is well-known for his acting career, breaking into the big time with “The Social Network” and “Zombieland,” and sustaining an interesting dramatic career with roles in “The End of the Tour” and “The Art of Self-Defense.” He’s moved behind the camera for his directorial debut, “When You Finish Saving the World,” which is an adaptation of his 2020 audio production. The material plays to Eisenberg’s strengths, examining the struggle of neurotic and frustrated characters trying to maintain some connection as life takes them in different directions, handling earnest intentions by making a mess of everything. The helmer loves to summon scenes of itchy interactions and damaged relationships, giving “When You Finish Saving the World” some interesting energy as it deals with the customary trials of parenthood and adolescence. Read the rest at Blu-ray.com

“Kids vs. Aliens” is a short movie (68 minutes before end credits), and the kids of the title don’t meet the aliens until the picture is more than halfway over. There are strange story priorities for co-writer Jason Eisener, who hasn’t made a feature in over a decade, finding minor cult appreciation for 2011’s “Hobo with a Shotgun,” his ode to Troma Films and grindhouse entertainment. Eisner remains in this world for “Kids vs. Aliens,” which is as aggressive as “Hobo with a Shotgun,” hoping to wow viewers with a steady display of loud performances, garish lighting, and dialogue that’s basically just various expletives strung together. The writing isn’t too adventurous, and the endeavor barely makes time for the central showdown, with more attention put on adolescent woes than intergalactic threats. It’s certainly an active effort but always falls short of its potential, apparently saving the good stuff for a sequel promised at the end. Read the rest at Blu-ray.com

“There’s Something Wrong with the Children” is a misleading title. There’s something wrong with everyone in the feature, which examines real and unreal trouble coming for two couples looking to have a refreshing weekend in the woods. The screenplay by T.J. Cimfel and David White isn’t a “Bad Seed” clone, more interested in marital communication and parental fears than devious little ones, which gives the film an unusual air of hostility. However, the production doesn’t sustain such psychological games for long enough, with more physical acts of survival coming into play. Director Roxanne Benjamin (“Body at Brighton Rock”) tries to inspire a fear factor in the picture, but formula eventually wins in the end, gradually limiting the dramatic potential of the movie. Read the rest at Blu-ray.com

It takes a lot to be known as the worst “House Party” movie, but here we are. The original 1990 film is pretty much a classic at this point, and while it contains scenes that’ve aged horribly, the picture remains a joyous, hilarious endeavor, with writer/director Reginald Hudlin capturing the wiliness of youth and the broadness of comedy, making for an irresistible overnight adventure with earnest, playful characters. Sequels arrived and quality dipped, with the last installment, 2013’s “House Party: Tonight’s the Night,” trying to restart the series engine. Enter LeBron James, who’s partially in charge of bringing the brand name back, making the new “House Party” all about him, with remake duties handed to director Calmatic and screenwriters Jamal Olori and Stephen Glover. It’s difficult to understand if James and Co. have even seen the first feature, as the remake shares none of the fun and mischief, quickly getting lost in DOA jokes, poor characterization, and an obsession with marijuana moments. Read the rest at Blu-ray.com

“Dog Gone” is an adaptation of a book by Pauls Toutonghi, who detailed the true story of Gonker, a pet that went missing in the wild, inspiring owner Fielding Marshall and his family to organize a massive search for the pooch along the Appalachian Trail. It’s an interesting story of determination and familial stress, and it also offers a boost of positivity during dark days, giving viewers a chance to get involved in the hunt for an easily distracted dog and all the bonding time such a mission provides. Director Stephen Herek (“Bill & Ted’s Excellent Adventure,” “The Mighty Ducks”) doesn’t have a major creative challenge with “Dog Gone,” tending to domestic issues and community support, which leaves the feature without much tension as it tries to go easy on the target audience. Dud scenes periodically arrive, but the feature is successfully gentle, hoping to inspire warmth with acts of kindness and understanding. Read the rest at Blu-ray.com

Gerard Butler has certainly found a place for himself in the film industry. He’s been playing tough guys stuck in desperate survival situations for the most part, doing relatively well with such career ambitions, breaking up the norm with a few different turns over the years (such as 2018’s “The Vanishing”). His latest, “Plane,” doesn’t offer a sizable acting challenge, but Butler tones down the brawniness this time out, tasked with portraying an average airline employee suddenly thrust into a live-or-die situation on a Southeast Asian island. Of course, the production isn’t completely committed to the everyman concept, but it gets close enough for this tense, ultraviolent thriller, giving Butler something to play as the body count rises. Director Jean-Francois Richet (“Blood Father” and 2005’s “Assault on Precinct 13” remake) has his limitations when it comes to emphasizing terror, but he delivers occasional surges of fury in this competent nail-biter, using Butler’s grit in all the right ways. Read the rest at Blu-ray.com

The war between good and evil takes a few bizarre turns in “The Devil Conspiracy.” Screenwriter Ed Alan has the makings for a trashy fantasy novel about a plan to bring Lucifer to power via DNA resurrection (facing archangel Michael’s mission to stop such an event), piling up nonsense in such a confident manner, it requires pages and pages of literary effort to really make sense of it all. Alan’s gone to the movies instead, hoping his Heaven/Hell showdown might kickstart a new franchise. “The Devil Conspiracy” doesn’t have the budget to fully realize most of the weirdness in Alan’s endeavor, with director Nathan Frankowski trying to shape some type of epic as power plays and demonic happenings are ordered up. It’s not Christian entertainment, and it’s not a big-budget undertaking, with the feature more of a bizarre take on biblical fury that’s never as awesome as Alan intends it to be. Read the rest at Blu-ray.com

“The Seven Faces of Jane” is an experimental film where eight directors take a crack at following the journey of a single character through various short tales of introspection and loneliness. The production labels this dramatic mission “exquisite corpse,” with the moviemakers unaware of any master plan, keeping their segments free of connective tissue, encouraging a more challenging, artful game of storytelling. “The Seven Faces of Jane” is strange and emotional, taking viewers on a bumpy ride of charged encounters and quiet reflection, with star Gillian Jacobs the through line for the endeavor, tasked with communicating different psychological spaces for the same character, delivering one of the best performances of her career as she helps to guide viewers through the weirdness of dramatic interpretation and fragmented plotting presented in a puzzle that’s not meant to be solved, just appreciated for most of the run time. Read the rest at Blu-ray.com

“Sick” takes viewers back to 2020, when the first wave of COVID-19 dominated daily life, turning everything upside down as people struggled to understand what was happening to health and society. That’s enough right there to power a horror movie, and a few productions have attempted to detail pandemic life while we remain in pandemic times, but “Sick” has something slightly different in mind when it comes to manufacturing a fear factor. “Scream” screenwriter Kevin Williamson (joined by Katelyn Crabb, his former personal assistant) looks to revive his slasher interests with the project, blending moves from previous productions with fresh community paranoia, making for a mildly compelling chiller. It’s no major offering of suspense, but director John Hyams (who made a similar endeavor in 2020’s “Alone”) creates a few tense moments of survival while Williamson and Crabb paw lightly at the agony of the last few years. Read the rest at Blu-ray.com

“The Drop” isn’t really a film, it’s more of a showcase for improvisational interactions among actors tasked with feeling around for moments instead of participating in scenes. It’s a comedy, but not really, with co-writer/director Sarah Adina Smith unsure if she even wants to make a funny movie to begin with, mostly interested in thinly veiled hostilities between people in relationships. The central idea concerns a mistake made by one character that triggers a flood of shame during a destination wedding, and there’s something intriguing about such a disaster. However, “The Drop” doesn’t have shape or timing, with juicy bits of hidden hostilities and silent struggle generally ignored as the ensemble plays make-em-up games that often go on way too long. Smith doesn’t seem too concerned with editing or performance, with the feature in desperate need of something more than just sustained aimlessness. Read the rest at Blu-ray.com

In 2019, producers attempted to revive a sagging franchise with a remake of “Child’s Play,” endeavoring to offer an updated Chucky for a modern era, turning the “friend to the end” into a high-tech machine, giving the feature a technophobia touch. Viewers largely ignored the effort, but that doesn’t stop “M3GAN” from attempting the same idea, with screenwriter Akeela Cooper fairly shameless about lifting ideas from the world of “Child’s Play,” aiming to bring her version of a killer doll to the screen. Familiarity is everywhere in “M3GAN,” which doesn’t offer much in the way of originality, but it does have tremendous entertainment value at times. Director Gerard Johnstone (“Housebound”) doesn’t go trashy with the film, but he does create an appealing air of unease around the eponymous robot, giving the picture a few suspenseful highlights and an overall tone of danger without slipping into straight horror happenings. Read the rest at Blu-ray.com