“The Black Phone“
“Blue Moon“
“Colossal“
“East of Wall“
“Ema“
“Fall“
“How to Train Your Dragon“
“The Iron Claw“
“Mississippi Grind“
“Triangle of Sadness“

12 NEW TO BLU-RAY/DVD

“3:10 to Yuma” (Criterion)

Often undervalued when it comes to discussion of the best Westerns of all time, Delmer Daves’ 1957 banger was resurrected by James Mangold’s remake in 2007 with Christian Bale and Russell Crowe. Five years later, it was selected for preservation in the National Film Registry, and Criterion added it to their collection a year later in 2013. This great film adaptation of a short story by Elmore Leonard stars Glenn Ford and Van Heflin in the story of a rancher who tries to get a notorious criminal to the titular train so he can go on trial in Arizona. It’s gorgeously framed, perfectly paced, and now it’s the 4K section of the Criterion Collection.

Special Features

• New 4K digital restoration, with uncompressed monaural soundtrack
• Alternate 5.1 surround soundtrack, presented in DTS-HD Master Audio
• One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special features
• Interviews with author Elmore Leonard and actor Glenn Ford’s son and biographer, Peter Ford
• English subtitles for the deaf and hard of hearing
• PLUS: An essay by critic Kent Jones

“Cloud“

One of the best living filmmakers, Kiyoshi Kurosawa, released this thriller quietly in 2025, which means most of you probably haven’t seen it. Criterion has spotlighted the film through their Janus Contemporaries brand, giving it a slight but effective release. The important thing is not the special features but that you see this great film, one of my favorites of 2025, and one that seems timelier every day. It’s about a guy named Yoshii who crosses paths with the wrong people during one of his online retail scams. Kurosawa has made a smart thriller that embeds its social commentary in riveting suspense. It’s great.

Special Features

• Meet the Filmmakers: Kiyoshi Kurosawa, a Criterion Channel original interview
• Trailer
• Notes by critic Sean Gilman

“A Little Prayer“

Angus MacLachlan’s “A Little Prayer” premiered at Sundance 2023, but then fell down a rabbit hole of licensing and distribution issues, getting stuck in the pipeline for every two years. Finally getting released in Summer 2025, it also played Ebertfest and the Chicago Critics Film Festival that year, with the wonderful MacLachlan and Levy as a guest at the latter. MacLachlan also made the journey to Ebertfest, and that panel is included on this Blu-ray, co-moderated by yours truly. The “Junebug” writer/director returns to a world he knows in this tender character study of a man who discovers that his son may not be a decent person, and what that means for his relationship with a daughter-in-law he now sees as his own child. It’s smart, moving, and wonderful.

Special Features

• Audio Commentary by Director Angus MacLachlan
• Inside the Arthouse with Angus MacLachlan and Jane Levy
• Panel Discussion from EbertFest 2025
• Image Gallery
• Theatrical Trailer

“The Man Who Wasn’t There” (Criterion)

The Coen brothers loved to switch up genres, jumping from “O Brother, Where Art Thou” to this noir that couldn’t be more different if it tried. One of the more underrated films in the Coen filmography, this 2001 noir stars Billy Bob Thornton as Ed Crane, a California barber who devises a plan to blackmail his wife’s lover. Featuring some of Roger Deakins’ most striking cinematography, this one also has a great Coen ensemble that includes Frances McDormand, Richard Jenkins, Scarlett Johansson, James Gandolfini, and a standout turn from Shalhoub. The Criterion release includes not only a previously-available commentary by the Coens but a new conversation with the brothers and the phenomenal author Megan Abbott, a writer who knows about the James M. Cain influence on this gem.

Special Features

• New 4K digital restoration, supervised and approved by director of photography Roger Deakins, with 5.0 surround DTS-HD Master Audio soundtrack
• One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special features
• Audio commentary featuring filmmakers Joel and Ethan Coen and actor Billy Bob Thornton
• New conversation between the Coens and author Megan Abbott
• Archival interview with Deakins
• Short making-of documentary and deleted scenes
• English subtitles for the deaf and hard of hearing
• PLUS: An essay by author Laura Lippman

“Minority Report“

Steven Spielberg has arguably the best 2-movie year in history with 1993’s “Jurassic Park” and “Schindler’s List,” but another candidate for consideration if one was making a listicle of such things would be his similarly distinct 2002: “Catch Me If You Can” and “Minority Report,” which made its 4K debut this month. The special features remain the same, but this is a film to own in 4K, one of the best sci-fi features of the 2000s, a prescient story of how technology and surveillance would impact the world. It’s a movie that gets better every time I see it.

Special Features

• The Future According to Steven Spielberg
• Inside the World of Precrime
• Philip K. Dick, Steven Spielberg, and Minority Report
• Minority Report: Future Realized
• Minority Report: Props of the Future
• Highlights From Minority Report: From the Set
• Minority Report: Commercials of the Future
• Previz Sequences
• From Story to Screen
• Deconstructing Minority Report
• The Stunts of Minority Report
• ILM and Minority Report
• Final Report
• Production Concepts
• Storyboard Sequences
• Original Trailers

“Network” (Criterion)

This November marks the 50th anniversary of a movie that feels like it should be necessary watch in a time when journalism is under attack. As newspapers cut staffs and networks are increasingly under the control of outside forces, go back and watch Paddy Chayefsky’s devastating prediction of where the world was headed. Peter Finch plays Howard Beale, who has a total breakdown on live TV, revealing how much people love to watch personal demons made public. Roger understood the power of the film, and Sidney Lumet’s underrated work on it, writing in his Great Movies essay: “In “Network,” which is rarely thought of as a “director’s picture,” it is his unobtrusive skill that allows all those different notes and energy levels to exist within the same film. In other hands, the film might have whirled to pieces. In his, it became a touchstone.”

Special Features

• New 4K digital restoration, with uncompressed monaural soundtrack
• One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special features
• Audio commentary featuring director Sidney Lumet
• Paddy Chayefsky: Collector of Words (2025), a feature-length documentary about the screenwriter by Matthew Miele
• The Making of “Network” (2006), a six-part documentary by Laurent Bouzereau
• Trailer
• English subtitles for the deaf and hard of hearing
• PLUS: An essay by political commentator and New York Times columnist Jamelle Bouie

“Now You See Me, Now You Don’t“

If you’re wondering how a sequel got made to a 2016 movie that most people forgot, two words for you: International audiences. These movies are shockingly huge around the world, proving that the language of magic is universal, I guess. The second film made over $330 million; this one only about $230 million, but still well in the black on the profit sheet. Why the decrease? The lengthy wait between films didn’t help, but this is also a pretty lazy flick, a movie that uses cheap effects to tell a familiar story with an overcrowded cast. On the one hand, it’s a serviceable distraction on a rainy Saturday if you don’t want to be challenged more than that. On the other, it’s kind of a waste of time. Although it is worth noting that Lionsgate has given it a pretty robust Blu-ray with commentary, featurettes, and deleted scenes. They know about that international physical media dollar, too.

Special Features

• Audio Commentary with Director Ruben Fleischer and Producer Bobby Cohen
• Lord of Illusions
• Now You See Me… Again
• Heart of Stone
• Quick Change
• Nothing Up My Sleeve
• The Magic Castle
• Deleted and Extended Scenes
• Original Trailer

“Predator: Badlands“

Everything old was new again in Fall 2025 with a reboot of “The Running Man,” the sequel “Tron: Ares,” and this standalone “Predator” action flick, easily the best of the bunch. Matt Zoller Seitz’s 4-star review at this site was one of our most divisive of last year. I can’t quite go that far, but I get it. This is such an original, fun movie, the right way to build on an existing property instead of just remaking what worked before. Director Dan Trachtenberg’s love for this world is palpable, and Elle Fanning is legitimately great, as she so often is. It also looks incredible with some of the best sci-fi cinematography of last year from Jeff Cutter, even more vibrant in 4K.

Special Features

• Audio Commentary: Watch the film with audio commentary by Director Dan Trachtenberg, Producer Ben Rosenblatt, Director of Photography Jeff Cutter and Stunt Coordinator Jacob Tomuri.
• Deleted & Pre-Visualization Scenes with Optional Audio Commentary:
• Sand Trap – An early animatic version of Dek’s very different first encounter with Thia.
• Squirt Canyon – The full version of Dek and Thia traversing the water-filled trench while trying to survive Genna…and each other.
• Tessa vs. Abe – Tessa faces off against a superior synth in this deleted scene and storyline.
• Razor Grass – The original previsualization of Dek, Thia, and Bud’s first hunt together…sort of.
• The Outpost – Thia takes Dek to a small Weyland-Yutani field facility where they experience a few things that ended up being used elsewhere in the final film.
• Super Power Loader Extended – Special additional moments during Dek’s climactic final battle with the Super Power Loader and the Kalisk.
• Featurettes:
• Embodying the Predator – Meet the talented team of designers, performers, and effects artists responsible for bringing one of cinema’s most terrifying creatures to life on screen in ways we’ve never seen before!
• Authentic Synthetics – Get up close and personal with synths Thia and Tessa as star Elle Fanning walks us through the process of crafting two characters who may look the same but have evolved in surprisingly unique ways.
• Building the Badlands – With razor sharp grass, killer trees, and terrifying animals, never has a planet been more deadly than Genna. Uncover how a team of artisans built this threatening landscape, transforming real locations into the dangerous environments seen on screen.
• Dek of the Yautja – For the first time ever, director Dan Trachtenberg has given audiences an extended peek at Predator culture. Follow the evolution as filmmakers reveal the process behind developing the Yautja’s home world, spacecraft, and family dynamics.

“Rental Family“

A relative hit on the fest circuit, this dramedy seemed to die in a crowded awards season. It’s too bad because there’s enough to like here to warrant a look. Brendan Fraser stars as an American actor who gets a job pretending to be real people, such as a mourner at a funeral. When he’s asked to pretend to be the estranged father of a little girl, he goes along with it, leading to inevitable heartbreak. “Rental Family” is unapologetically melodramatic, but so are the real-life actors it centers. It needs to be pitched to an emotional 11, and there are strong supporting performances from Akira Emoto and Mari Yamamoto that help ground it when Fraser’s puppy-dog look gets a bit too saccharine.

Special Features

• Featurette: Rental Family Revealed — Go behind the scenes with Brendan Fraser, director HIKARI, and the Japanese cast as they explore friendship, culture, found family, and filming in Japan in this intimate look at the making of Rental Family.
• Deleted/Extended Scenes:
• Columbus
• Crying Session
• Apology
• Aiko’s First Client
• Clearbright
• Tickets
• Audition
• Phone Call
• Final Montage

“Sisu: Road to Revenge“

The best action movie of 2025 that you probably haven’t seen is now available on streaming and Blu-ray. Jorma Tommila returns as Aatami Korpi, who has become something of a legend for his skill dispatching Nazis from the first film. Joined by great character actors Richard Brake and Stephen Lang, “Sisu: Road to Revenge” is like Looney Tunes meets “Mad Max: Fury Road,” a ludicrously enjoyable action flick that really should have a huge fan base. If just because I want to see another one.

Special Features

• Upping The Ante
• Alternate Ending

“Song Sung Blue“

It’s kind of funny that the big biopics of 2025 like “Springsteen: Road to Nowhere” flopped this awards season and the movie that’s about Neil Diamond but not really about Neil Diamond landed an Oscar nod for Best Actress. Hugh Jackman and Kate Hudson star in the story of Lightning and Thunder, a Diamond cover duo that made it big enough that they opened for Pearl Jam. They’re effective, and the music rules, but the film is pretty standard melodrama without much true character development or visual language at all. Still, you could do worse for a bit of unexpected Oscar bait, especially if you’re trying to see all of this year’s nominees.

Special Features

• FEATURE COMMENTARY WITH WRITER/DIRECTOR CRAIG BREWER
• EXTENDED PERFORMANCES:
• Crunchy Granola Suite
• Sweet Caroline
• ONE PLUS ONE EQUALS THREE – There is no Lightning without Thunder. Watch as Hugh and Kate reminisce on their characters’ love story, co-dependency, and their undeniable electricity.
• LIGHTNING IN THE BOTTLE – A love letter to the small-time performers, go behind the scenes with Writer/Director Craig Brewer to see how he brought SONG SUNG BLUE to life.
• EYE FOR STYLE – In this featurette, Costume Designer Ernesto Martinez reveals the art of storytelling through stitch and style.

“A Woman Under the Influence” (Criterion)

When people ask me the best performance of all time, I give one of two answers: Al Pacino in “Dog Day Afternoon” or Gena Rowlands in this John Cassavetes masterpiece, now upgraded to 4K by the Criterion Collection. Her Mabel Longhetti is unforgettable, a simmering cauldron of emotional upheaval. As Roger wrote in his Great Movies review, “Her madness burns amid the confusions of domestic life. Nothing goes easily.” What a great line for a great movie.

Special Features

• High-definition digital restoration, with uncompressed monaural soundtrack
• Audio commentary by sound recordist and composer Bo Harwood and camera operator Michael Ferris
• Conversation between actors Gena Rowlands and Peter Falk
• Archival audio interview with director John Cassavetes by film historians Michel Ciment and Michael Wilson
• Trailer
• Stills gallery featuring behind-the-scenes production photos
• English subtitles for the deaf and hard of hearing
• PLUS: An essay by critic Kent Jones and an interview with Cassavetes from 1975

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You would think all director Dan Trachtenberg wanted out of life was a chance to get his hands on the Predator film franchise, because since getting the opportunity back in 2022, he has vice gripped the thing and has not let go. It all started with Prey, a film that revitalized that franchise for me with its unique setup and fun characters. And even as recent as this past summer, Trachtenberg hit us with an animated anthology film, Predator: Killer of Killers. This took the concept of Prey and expanded upon it, throwing the brutal species against various cultures across different generations. It’s clear Trachtenberg loves this series and absolutely has the stuff to give us great and exciting stories with the IP. Which brings us to Predator: Badlands.

It isn’t exactly always doable to take a horror movie villain and put it in the driver seat as a film’s main character, but the Predators, or more accurately, the Yaujta, are a bit of a different breed. They have a culture, a hierarchy, and most importantly, an intelligence to them that leaves room for films to expand upon their rather narrow-minded setup. That’s exactly what Badlands does, but just how well it worked is still kind of up in the air for me.

Trachtenberg takes the franchise into uncharted territory with a plot centered around a disenfranchised hunter and his legless, talking backpack. This pivots the horror-action franchise into straight up action adventure territory, which can have varying effects. On one hand, it allows the Yaujta to evolve and become more dissectable and personable than ever before. And on the other hand, I wonder if the species ever needed that. The admittedly fun but highly predictable Predator: Badlands has me right down the middle here, entertaining me with its world building and set pieces, but numbing me with its overt attempts to make this the next, big blockbuster franchise. Some of that grime and grit that was found in the past films, including Prey, is somewhat lost as it attempts to humanize the intergalactic killer that felt a little unnatural to me. Still, it’s far from unwatchable, as there’s plenty of good to be found in the land of bad.

Case in point; our main characters. For the first time ever, the titular Predator feels like a fully realized character. Given life and emotion I didn’t think was possible by Dimitrius Schuster-Koloanmatangi. As Dek, Dimitrius brings an aura of youthful stubbornness to the species, as he portrays an outcast who is marked for death after being labeled a weakling. And don’t worry, he doesn’t learn that non-violence is the answer or anything like that. It’s not one of those movies. But we get to see the necessity of survival thrust upon him, something usually reserved for a Predator’s prey. Because of his inexperience, he not only has to rely on resourcefulness to survive a planet designed to kill, but the help of others, as we come to learn. While the species’ nature of violence isn’t called into question, their methods are. Hunting alone, culling the weak from their tribes; things like that are called into question, and it honestly makes sense. You have a species that has perfected space travel but hasn’t been able to establish a functioning, thriving society because of its narrow minded brutalness. Dek is the first to realize there’s more to his life than just blind tradition, and while his journey through these realizations often feel quick and hollow for the sake of the story, they at least feel fresh for the franchise.

Paired alongside Dek is Elle Fanning’s Thea, a talkative, partially severed synthetic looking to make it back to her employers and her identical “sister” Tessa. The combination of Dek and Thea is what really makes this film shine, sparking a slow-building camaraderie between the two that originally blossoms out of necessity, but is later refined through respect. It’s a real Shrek and Donkey dynamic here, if those two were willing to stab multiple creatures to death. Fanning’s bubbly personality serves as a great foil to the quiet and stoic Dek, even bringing out a bit of comedy from the Yaujta that doesn’t feel like total character assassination. There’s also a funny little monkey creature endearingly named Bud by Thea, who I have mixed feelings on. I don’t think it’s completely accurate to label Bud as a Baby Yoda type of character, one whose cuteness contradicts the savage world it lives in. But at the same time, it’s very clear what the intention of having a character like this in the film is, and sometimes I felt as if it wasn’t ultimately needed.

What I can admire, however, is all the thought and detail that was put into designing the planet most of the film takes place on. While it sometimes just looks like a drably shot New Zealand, there are some details that manage to give the world a lot more identity. A living forest with predatory, serpentine vines, a field of grass where the blades are literal blades, and slithering land eels that spit acid are just some of the wonders you’ll find in the badlands of Genna. For $100 million, it can look pretty impressive, though there are moments where you can see the budget being stretched to its limits. And for a PG-13 film, there is no skimping on brutal action sequences. It turns out the trick to making your PG-13 movie violent lies in reserving the brutality for giant CG monstrosities or cyborgs that bleed white paste. There’s plenty of hacking and slashing to be found here, though some set pieces are more engaging than others. Still, there’re some inventive uses of the world that get hinted to early on that have terrific payoff in the climax, which is always a treat to see. 

So while I don’t have an issue with humanizing the monster and having him go against type, I do think it could have been done in a less…cutesy way? The aim was definitely to make this more crowd pleasing, but not entirely in the way an underdog story allows. From the first few minutes, you know Dek is going to become disillusioned with his culture, and that’s fine. But the found family angle just feels like playing it safe to me. This really only becomes an issue near the end, where I never really felt like Dek’s progression from self-preservation to fighting to save the mother of a baby felt all that rewarding. It keeps in line with the outcasts rising above their clan’s idea of them that his past Predator films have leaned into, and while it’s certainly subversive for this character, it is not for his body of work. It just kind of makes me think that not every franchise needs to be Star Wars or Marvel. There is a beauty in not giving audiences the tried and true formula they’ve grown accustomed to over the years. And that kind of feels like where this franchise is heading, which just doesn’t interest me as much as what I thought Prey was setting up. I think a Predator team up movie can still work, and make no mistake, it technically does here, but it’s done so with a safety that I don’t think the franchise ever really needed.

So if you’re looking for something that maybe does sci-fi adventure better than recent Star Wars offerings but maybe not as inspired as the Avatar films, then maybe Predator: Badlands will be your cup of tea. There’s plenty to admire here, but not really enough to make me do backflips, eagerly awaiting the next ragtag adventure our characters get into. I trust Trachtenberg to keep making entertaining popcorn flicks, but I do hope there ends up being more to his work down the line that manages to reel me back in. What’s Rawhead Rex up to? Maybe he can take a crack at that next.

RATING

PLASMA CUTTER

Predators have always had a lot of tools at their disposal; nets, shurikens, Snapchat. No, wait, different kind of predator. But the one that gets the most play in Badlands is this sword with a glowing red edge that can cut through anything. Thus, this piece of tech is the inspiration for today’s cocktail, as it’s going to be bright red and pack a little bit of heat. But the heat we’ll be working with here are those earthy spices; your cinnamon, your allspice and your ginger. It’s going to give the cocktail a nice tingle that’s also gonna fit perfectly with the dropping temperatures as we make our way into the holiday season. And, if you’re looking for another Predator cocktail, I made a Predator Blood drink a few years back that has this sweet and vegetal taste to it that I really loved.

INGREDIENTS

• 2oz spiced rum
• 1/2oz Benedictine
• 3/4oz pomegranate juice
• 1/2oz spiced simple syrup (recipe below)
• 1/2oz lime juice
• 2 dashes angostura bitters
• splash of grenadine
• Top: Ginger beer

FOR SPICED SIMPLE SYRUP

• 1 cup sugar
• 1 cup water
• 1tsp allspice berries
• 1tsp dried ginger root
• 2 cinnamon sticks

INSTRUCTIONS

FOR SPICED SIMPLE SYRUP

1. Combine ingredients in a saucepan over medium heat, stirring until sugar has dissolved.
2. Let cool, then strain into sealed container.

FOR COCKTAIL

1. Add ingredients to a shaker and shake to chill.
2. Strain into tall cocktail glass (over ice if desired).
3. Top with ginger beer.

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