New on Home Video: “The Conjuring” on 4K Ultra HD + Digital Copy

August 21, 2025 by Keith Garlington

Warner Bros. Discovery Home Entertainment is releasing James Wan’s “The Conjuring” on 4K Ultra HD Blu-ray for the first time. This supernatural horror new classic released in 2013 and kicked off a franchise that has earned over $2.2 billion at the global box office. The film’s chilling story was plucked from the case files of renowned demonologists Ed and Lorraine Warren and told of a young girl’s possession in Harrisville, Rhode Island. Starring Vera Farmiga and Patrick Wilson, both brilliant as the two leads. Read my full review of the film [HERE].

This 4K Ultra HD Blu-ray edition of “The Conjuring” comes with a digital copy and will be available to purchase on August 26th. See below for a full synopsis of the film as well as release information and a list of special features.

About the Film:

Year: 2012

Runtime: 112 Minutes

Director: James Wan

Screenwriter: Chad Hayes, Carey W. Hayes

Cast: Vera Farmiga, Patrick Wilson, Lili Taylor, Ron Livingston, Shanley Caswell, Hayley McFarland, Joey King, Mackenzie Foy, Kyla Deaver, Shannon Kook, John Brotherton, Sterling Jerins, Amy Tipton

Rating: R for sequences of disturbing violence and terror

Before there was Amityville, there was Harrisville. Based on the true-life story, The Conjuring tells the tale of how world-renowned paranormal investigators Ed and Lorraine Warren were called upon to help a family terrorized by a dark presence in a secluded farmhouse. Forced to confront a powerful demonic entity, the Warrens find themselves caught in the most horrifying case of their lives.

From New Line Cinema comes a feature film drawn from the case files of married demonologists Ed and Lorraine Warren. “The Conjuring” stars Academy Award nominee Vera Farmiga (“Up in the Air”) and Patrick Wilson (“Insidious”) as the Warrens, and Ron Livingston and Lili Taylor as Roger and Carolyn Perron, residents of the house.

Special Features:

“The Conjuring“ Digital release and Ultra HD Blu-ray disc contains the following new and previously released special features:

Scariest of Them All (NEW) – The cast and creators of The Conjuring take a look back at some of the greatest scares of the series, uncovering what made these films so iconic.
Reflections on the Conjuring (NEW) – More than a decade after the release of the original film, the cast and crew of The Conjuring reflect on their experiences creating one of the most legendary horror series in history.
The Conjuring: Face-to-Face with Terror – Relive the real-life horror as the Perron family comes together to reflect back on the farmhouse they shared with diabolical spirits for nearly a decade.
A Life in Demonology – The real demonologist and paranormal experts from The Conjuring take you inside their life’s work and into their personal occult cellar, where they keep haunted and unholy relics from their many cases.
Scaring the “@$*%” Out of You – Director James Wan (Saw, Insidious) welcomes you into his world and gives an inside look at the at the scenes that scare the “@$*%” out of moviegoers time and time again.

REVIEW: “Relay” (2025)

August 20, 2025 by Keith Garlington

In “Relay” a terrific Riz Ahmed plays John, or is it James, or is it Ash? Either way, he is an off-the-radar New York City fixer with a very specific clientele. He specializes in helping whistleblowers who are being threatened, and in some cases terrorized, by big corporations. Ash brokers deals between his clients who desperately want to be left alone and the companies who desperately want his clients silenced.

In exchange for any damning evidence, the companies agree to leave Ash’s clients alone. If they don’t, he will send the media a copy of the evidence that he alone keeps for leverage, ultimately exposing their corruption. More interesting, Ash communicates exclusively through a dedicated telecommunications relay service. Originally designed for the hearing impaired, the service lets Ash type his words to an operator through an analogue keyboard. The operator then verbally relays them to the client or the company on the other line. It allows Ash to operate undetected while hiding in plain sight.

The premise is a good one and director David Mackenzie (“Hell or High Water”) makes the most of it. He and screenwriter Justin Piasecki tell a story that calls back to the paranoid thrillers of the 1970s and early 1980s. From its earliest scenes we see flashes of De Palma’s “Blow Out” and Coppola’s “The Conversation”. But in just as many ways, “Relay” is also distinctly modern. Its story has an undeniable relevance and the characters feel stitched in from our current timeline.

Lily James plays Sarah Grant, a research scientist for a bio-tech company who was let go for sharing alarming concerns about the corporation’s new project. It turns out the food-based venture could have deadly side-effects. But the company is intent on keeping it silent, as the scandal could threaten their pending $3.2 billion merger. Armed with documents implicating her former employer, Sarah was initially prepared to go public. But the company’s intensifying intimidation and harassment has left her scared and wanting her old life back.

With no help from the cops and no law firm willing to take her case, Sarah tries more unofficial channels and reaches out to Ash. After a thorough investigation, he agrees to help (for a hefty $50,000 deposit). Ash immediately lays out the rules – they are never to meet in person, they will only communicate through the relay service, and she is to follow his instructions to the letter, no matter how strange they may seem. Failure to follow the rules could result in Ash walking away, leaving Sarah on her own.

Complicating matters is the company’s bulldog, Steve Dawson (Sam Worthington). He and his crew have Sarah in their sights and don’t appreciate Ash getting in the way. It sets up a whip-smart game of cat-and-mouse as Ash attempts to stay one step ahead of his crooked counterpart while keeping Sarah safe in the process. The simmering tension turns to a boil as Mackenzie works towards a whopper of a twist that we never see coming.

At the same time, the movie’s big twist makes us question several things that came before it. It’s an ambitious turn no doubt and one that yanks the story in an entirely different direction. And it’s admittedly fun. But fully making sense of it is a challenge, especially when it comes at the expense of the characters. Thankfully it doesn’t undermine everything Mackenzie and Piasecki had developed to that point.

The film’s world of corporate secrets, clandestine operatives, and hidden identities is visualized through the compelling lensing of DP Giles Nuttgens. His images, especially those shot at locations in and around a pulsing New York City, add richness and vibrancy to the events. But at its core, “Relay” is about more. Beyond its thriller dressing is an insightful character study about social isolation and the need for communication. And it registers through Ahmed’s finely calibrated lead performance.

VERDICT – 4 STARS

Netflix Drops New Key Art for Guillermo del Toro’s “Frankenstein”

August 18, 2025 by Keith Garlington

Easily among the most anticipated films of 2025 in Guillermo del Toro’s adaptation of Mary Shelley’s classic 1818 novel “Frankenstein”. It seems like the perfect fit for the Academy Award-winning filmmaker who both writes and directs this well traveled tale. He brings together an all-star cast that includes Oscar Isaac as the brilliant but egotistical Victor Frankenstein, Jacob Elordi as his macabre creation, and Mia Goth as Victor’s fiancé. The film also stars Christoph Waltz, Lars Mikkelsen, Felix Kammerer, Ralph Ineson, Burn Gorman, David Bradley, Charles Dance, Christian Convery, and Lauren Collins.

“Frankenstein” will be coming to select theaters on October 17th followed by its Netflix streaming release on November 7th. To get audiences ready, Netflix has released some killer new teaser key art which I’m sure it’s just the start of their promotion for what could be a significant awards contender. Check them out below.

Are you excited for Guillermo del Toro’s “Frankenstein”?

REVIEW: “Americana” (2025)

August 18, 2025 by Keith Garlington

It has been over two years since writer-director Tony Tost’s “Americana” had its world premiere at the 2023 South By Southwest film festival. Now this rural genre smorgasbord is finally set for its official release on August 15th. But before it does, “Americana” recently kicked off Filmland 2025, an Arkansas based celebration of cinema presented by the Jeff Nichols led Arkansas Cinema Society.

“Americana” is a movie that can’t be summarized by a single label. Tost throws a little bit of everything at the screen. His film could rightly be called many things including a crime thriller, a heist comedy, a Western deconstruction, a stylish neo-noir, a trashy (although relatively tame) exploitation flick, and more. It unquestionably borrows (perhaps too heavily) from its obvious inspirations, most notably Quentin Tarantino and the Coen brothers. Yet it’s a surprisingly assured first feature from a filmmaker drawing from several of his own life experiences.

Set along the border of South Dakota and Wyoming but mostly shot in New Mexico, “Americana” leans into its unique setting both visually and narratively. The sparse, sunbaked territory adds a certain character that richly benefits the story. As for that story, it’s a non-linear yarn that Tost unfolds through a series of chapters. It features a wide array of colorful characters who function like puzzle pieces, each connecting together in unexpected ways.

Much of the story revolves around an ancient ghost shirt traced to the indigenous Lakota people. The movie begins with it in the possession of a wealthy collector played briefly but comically by Toby Huss. With a worth of around half a million dollars, the ghost shirt attracts the attention of a lot of people. Among them is a sleazy antiquities dealer named Roy Lee Dean (Simon Rex). Dean hires a local thug, Dillon MacIntosh (Eric Dane) to steal the shirt. But once Dillon discovers its worth, he considers selling it himself.

Elsewhere, Sydney Sweeney plays Penny Jo Poplin, bashful waitress with strawberry blonde hair, a noticeable stammer, and big dreams of moving to Nashville and becoming a country music singer. Paul Walter Hauser plays Lefty Ledbetter, a lonely lovelorn cowboy who frequents her diner. Over time the two development a amusingly sweet relationship. And after Penny Jo overhears Roy Lee making the deal with Dillon, they decide that getting the shirt first could be the answer to their dreams.

And elsewhere (again), a battered single mother named Mandy (played by pop star Halsey) flees an abusive relationship with Dillon, seeing the shirt as her ticket to a better life. In the process, she leaves behind her stubborn 11-year-old son Cal (Gavin Maddox Bergman) who is obsessed with Native American culture (the television version), so much so that he believes himself to be the reincarnation of Sitting Bull. Young Cal eventually crosses paths with Ghost Eye (Zahn McClarnon), the leader of an area Native American resistance group who soon find themselves hot on the shirt’s trail.

As you can tell, “Americana” has numerous parts moving in the same general direction. Yet to Tost’s credit, he maintains mostly unpredictable character arcs. Despite how familiar the movie sometimes feels, the characters take enough surprising turns to keep us guessing. As for the offbeat cast, Sweeney and Hauser are highlights with each giving solid low-key performances in a movie that cranks so much up to 10. Halsey also shines despite having the hardest to read character in the movie.

As Tost maneuvers his way towards the story’s inevitably violent finish, he lightly explores several themes. The most glaring features yet another patriarchy takedown that gets more obvious with every white male Tost kills off. But frankly no one should watch “Americana” in search of some deep sociopolitical insight. It’s best viewed as a routinely funny, fittingly violent, and stylishly made caper that’s cinematically seasoned with 70s, 80s, and even a touch of early 90s flavor. It’s a well-acted romp and an accomplished first feature from a filmmaker to keep your eye on.

VERDICT – 3.5 STARS

REVIEW: “River of Blood” (2025)

August 15, 2025 by Keith Garlington

In its opening moments, “River of Blood” transports us to the jungles of Southeast Asia where a team of Australian loggers are savagely murdered by a mysterious tribe. That sets the table for this handsomely shot but frustratingly shallow horror thriller from director Howard J. Ford. It has all the ingredients for a good old-fashioned exploitation romp. But even with a few helpings of gory goodness, you can’t help but sense the movie playing it safe.

Written for the screen by Tom Boyle, “River of Blood” is built upon a simple yet promising premise. Filmed on location in Thailand, the jungle setting is as beautiful as it is threatening, with its dense green foliage, high canopy with rays of sun beaming through the cracks, and the narrow winding river cutting through it. And as the beauty gives way to the danger, Ford delivers some pretty gnarly violence which is perfectly fitting for the story he’s trying to tell.

But the problems almost immediately seep in through the thinly sketched characters and their paper-thin relationships. The movie outlines some history between them and attempts to build tension through the drama unfolding between them. But the jealousy, bitterness, and betrayal is all so superficial and borderline soapy. Meanwhile meatier themes regarding deforestation and native culture remain on the surface. Compound it all by their countless dumb decisions which may get the story to where they want it, but makes them look incredibly inept in the process.

Four good-looking and undeniably privileged friends are vacationing together in Southeast Asia. They are Ajay (Louis James) and his wife Maya (Ella Starbuck) and Ritchie (David Wayman) and his wife Jasmine (Sarah Alexandra Marks). Ajay and Ritchie have been best friends since college, but it’s clear the insecure Ajay is jealous of Ritchie’s financial success. Even clearer is the obvious affair between Ajay and Jasmine.

The four ‘friends’ decide to take a kayak river tour into the jungle led by their guide, Nick (Joseph Millson) who on a whim changes their day trip into an overnight adventure. Aside from Ajay’s eye-rolling machismo and natural douchery, things start off great as the group floats down the scenic river admiring the jungle’s unspoiled beauty. But that all changes after they set up camp for the night.

The poorly concealed inter-couple drama eventually comes to a head, driving one member of the group to stupidly take off on their own. The others start searching for their missing member but end up crossing into land inhabited by a territorial tribe of violent cannibals. Suddenly the pampered vacationers find themselves being stalked by the tribe’s chief (Nelson Mahodi) who is hunting for his people’s next meal.

From there the story leans heavily into its predator/prey dynamic. To the film’s credit, it leads to several harrowing sequences although getting to them requires enduring some numbingly dopey character moments. The cast gives it their all, and their physical commitment is especially appreciable. They certainly seem up to handling deeper and more challenging material but never get it.

Even with its blemishes, “River of Blood” manages to pull off what some would argue is its most important task – to entertain. At a brisk 87 minutes, the movie never leaves us much time to dwell on its shortcomings. And for die-hard horror fans it’ll be even easier to look past the flaws. That’s because Ford hits his genre beats and doesn’t skimp on the blood. Still, I can’t help but wish the movie had pushed things further. A little more risk could have made a world of difference.

VERDICT – 2.5 STARS

REVIEW: “Red Sonja” (2025)

August 13, 2025 by Keith Garlington

Warrior and swordswoman Red Sonja has a long history in the world of pop culture. The character as most know her was created by Roy Thomas in 1973 and was somewhat inspired by Robert E. Howard’s Red Sonya of Rogatino from 1934. Thomas – the man who brought the classic pulp character Conan the Barbarian to mainstream American comics – often teamed Red Sonja with Conan in his Hyborian Age adventures prior to her receiving her first self-titled dedicated comic series in 1977.

Those who aren’t comic fans may remember Red Sonja from the not-so-great 1985 film starring Brigitte Nielsen. It was a spin-off from Arnold Schwarzenegger’s popular Conan movies but ended up a critical and commercial failure. Nonetheless a reboot was in the works in 2008 and again in 2015, but both attempts crumbled early into their conceptions. By 2021 a script had finally been written, and one year later M. J. Bassett was in line to direct.

**Image Courtesy of Samuel Goldwyn Films**

Now set for its official release, “Red Sonja” seeks to recapture the once popular sword and sorcery pulp from the 1980s. In many ways it’s very much a throwback action fantasy in line with that decade’s earlier (and notably bloodier) films. At the same time, it has no real connection to the 1985 film and is only vaguely in line with the more recent comics. Instead Bassett takes Red Sonja in a handful of new directions while mostly staying true to the essence of her character.

An inspired Matilda Lutz fully commits to her role as the eponymous central character. Her Red Sonja is a capable warrior who is not without her own vulnerabilities, many of which are traced back to her childhood. A series of flashbacks reveal she was separated from her people as a child after their village was violently ransacked by barbarians. Now, accompanied only by her fiercely loyal horse, Sonja roams the vast Dyrkania forest in search of her lost people, the Arkanians.

After pouring out some well-deserved vengeance on some shameless poachers, Sonja is taken captive by the film’s big baddie, Draygan (Robert Sheehan). He and his entourage are combing the forest for beasts to put in his arena. Sonja is immediately cast into his den of gladiators whose only purpose is to “die exceptionally“. The similarities to Ridley Scott’s “Gladiator” are impossible to deny. Sonja is told she can win her freedom if she wins in the arena. And she can only win in the arena if she wins the crowd (sound familiar?). Meanwhile her courage wins over the other gladiators who determine to fight by her side.

As for Draygan, in many ways he’s a blend of several fantasy villain archetypes. But Bassett and screenwriter Tasha Huo add a few layers of backstory that give him a touch of his own identity. Draygan is a self-ordained emperor who seeks the second half of a sacred tome that he believes prove he is the fulfillment of a mythical prophecy. He’s the epitome of a megalomaniac, using his crude mechanical inventions and army of loyalists to crush anyone in his way. He’s also a coward, hiding behind those very same forces he wields.

To no one’s surprise, the story moves towards an inevitable showdown between Sonja and Draygan. As it does, we’re ushered through a violent world full of ancient gods, mythical creatures, and eye-popping natural beauty. At the same time, you can’t miss the moments of campiness and certain scenes where the film’s budget constraints are made pretty obvious. Still Bassett does a lot with what she’s given, unfolding an immersive story accented by beautiful landscapes, brutal violence, and a rousing heroine at its center.

For many (like me), “Red Sonja” is an entertaining callback to a nearly forgotten time in sword and sorcery cinema. It’s a movie that embraces the wonder (and at times absurdity) of the 1980s films with reverence. Yet it’s littered with lines of humor that keep it from taking itself too seriously. And while it has most of Sonja’s key ingredients including her fierce warrior tenacity, her fire-red hair, and even her signature chain mail bikini, it’s aware enough to poke fun at the old-school exploitation from her past. When all considered, “Red Sonja” is the worthwhile feature length adaptation the character has long deserved.