Return to Sender is a bad movie. It’s script is hogwash. It hasn’t the courage to embrace its exploitation origins. It’s surprisingly misogynistic in many of the ways David Fincher’s Gone Girl potentially could have been yet fearlessly, ferociously never was…Director Fouad Mikati (Operation: Endgame) does what he can, allowing veteran cinematographer Russell Carpenter (Titanic) and dynamite composer Daniel Hart (Ain’t Them Bodies Saints) to work as magic as they can, but in the end it just isn’t enough, this thriller about as difficult to sit through as any movie I’ve seen this year.

Moonrise Kingdom is a masterful coming-of-age winner from the gifted hand of Wes Anderson, this 2012 sensation ranking up there with the auteur’s best including Rushmore, The Royal Tenenbaums and last year’s Academy Award-winning The Grand Budapest Hotel. Criterion’s Blu-ray is stunning, and even for those who already own the previously available disc this is one instance where an upgrade isn’t just recommended, it’s essential.

Disney’s Tomorrowland is considered a failure because it didn’t light up the box office or make back its massive budget. Thing is, there are countless fantasy-adventures made throughout the decades now thought of as classics that we could say the exact same thing about. Will Brad Bird’s hope-filled epic join that list? Who knows, as only time will tell, after all. I, for one, am eager to find out the answer. Here’s hoping those who take the time to give this excellent Blu-ray a look will end up feeling the same.

Free from expectation, away from all the hullabaloo that surrounded it back in May during its initial release, Avengers: Age of Ultron ends up working far better at home than I honestly expected it to…[It] isn’t a great superhero epic, but is oftentimes an exceedingly entertaining one, and in the end that’s perfectly fine by me.

I am not the biggest cheerleader for the Insidious franchise, my issues with the first two chapters in this trilogy fairly well known. Still, Chapter 3 isn’t too bad, breaking both the prequel curse as well as cracking through my relative indifference to this series with reasonably decent force.

We Are Still Here is pretty terrific. Freakishly well made, filled with a number of signature moments, director Ted Geoghegan’s film is both delectable homage to past horror greats as well as a new genre entry sure that delightfully stands on its own merits. I love this movie. Watch it at once.

Cop Car (2015) is almost perfect watch at home, turn out all the lights, make yourself some popcorn, late night entertainment fodder. Silly and slight, yes, but a heck of a lot of fun, anchored by a performance from Bacon that’s a total unhinged hoot start to finish. While not a great film, this is still a remarkably entertaining one, my second time watching it an even more pleasurable experience than the first one was.

The Connection isn’t perfect, and I admit part of my feelings leaning in that direction probably have to do with my love for The French Connection, but that doesn’t make it any less a solid, entertaining procedural that slowly builds to an emotionally shattering climax. Drafthouse Films’ Blu-ray release for the French procedural is magnificent, and I can’t help but think this is one motion picture that’s going to hold up remarkably well as the years go by.

Shocker isn’t one of writer/director Wes Craven’s best. It is, however, one of his most eccentric, unhinged and just plain weird.