But, in the end, it’s the way Dante keeps absolute control of all that’s happening that is most wondrous. So many tangents going at once, so many balls in the air, yet Innerspace rarely falters, never take a misstep, everything building to a rollicking, humorously joyous conclusion that’s as winning now as it ever was way back in 1987.

Showdown in Little Tokyo might not be any good, but that doesn’t make it a disaster, and while I’m still scratching my head wondering why Warner Archive bothered with this one for fans of the stars giving the Blu-ray a look isn’t remotely a bad idea.

Wyrmwood is a hoot. It’s also remarkably easy to re-watch. I had a blast revisiting this one, and I imagine genre fans who lap this sort of stuff up greedily will likely end up feeling much the same. Simply terrific.

I’m not sure I’d tell anyone to pay full price for this Scream! Factory release, the lack of extras are definite downer. But the moment Ghost Town went on sale I’d snatch directors Mac Ahlberg and Richard Governor’s underrated little 1988 gem up as fast as I could, this horror/western hybrid far more entertaining than it arguably has any right to be.

Nope. Still don’t like it. Pegg’s terrific, and Stenders does stage a couple of amusing grotesque sequences of bleak black comedy that did get me to giggle a tiny bit, but overall this film is just too flatly unappealing and boringly obvious in its machinations to be worth much in the way of a viewer’s time.

The fifth entry in the popular spy vs. spy series of action spectaculars, Mission: Impossible – Rogue Nation is a relentless thriller that ends up being marvelously entertaining even if many of its signature moments and beats feel in some way repeats of events from the preceding motion pictures.

But this [Vacation (2015)] fails on an even more calamitous level, forgetting the elements that made the Ramis/Hughes effort so memorable and long-lasting. It trades in platitudes instead of sincerity, elevating the gross-out antics to an even higher plateau yet leaving out the heart, soul and honesty that made all that icky silliness matter in a way it never could have otherwise.

The Look of Silence is director Joshua Oppenheimer’s powerful companion piece to his Academy Award-nominated stunner The Act of Killing. If that latter film was a detached, clinical analysis of unimaginable evil put under the most devastatingly perceptive of microscopes, this latest endeavor is the cry to hold those killers responsible.

Sadly, this big budget special effects driven comedy exists more than it does anything else, achieving a form of bland, barely interesting mediocrity that’s not terrible enough to be risible yet nowhere near imaginative enough to make up for its readily apparent shortcomings.