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Sebastian Maniscalco’s latest stand-up special, filmed at the United Center in Chicago, feels like an artist out of sync with the world he’s performing in. For a comic who once thrived on observational precision—mocking modern quirks and social absurdities with sharp hits—IT AIN’T RIGHT instead comes across as a relic from an earlier era of stand-up. The polish is there, the energy is undeniable, but the content feels more like a time capsule from the 2000s than a reflection of 2025.

MIRROR LIFE opens with a grounded approach rather than a dramatic one, building its story around a woman who refuses to let her cousin’s disappearance be dismissed as another tragedy in a chaotic world. Instead of relying on a grand hook or flashy gimmick, the film uses a steady, methodical setup to pull Tracy into an unnerving investigation. The premise itself has weight: a missing family member, a secretive clinical trial, and a new miracle drug marketed as a scientific breakthrough. It’s a foundation that doesn’t need embellishment because it taps into fears that are already very real.

Some older television physical media releases feel like nostalgia pieces; others feel like a long-overdue act of preservation. ALFRED HITCHCOCK PRESENTS: THE LEGACY COLLECTION is firmly in the second category. This enormous 34-disc set doesn’t simply gather random episodes—it restores a landmark in television history. It reminds viewers just how ahead of the curve Hitchcock was in shaping the anthology format. In all my years since creating Overly Honest Reviews, I’ve covered countless restorations from boutique labels, but few releases arrive with this level of scale and cultural weight. This isn’t an accessory to Hitchcock’s filmography; it’s a foundational pillar that helped define suspense storytelling on television, and this box set treats it that way.

From the opening gunshot echoing across the Aegean, THE ASSASSIN makes one thing clear — this isn’t your standard spy thriller. Keeley Hawes stars as Julie, a retired contract killer trying to live quietly on a sun-drenched Greek island, only for her estranged son Edward (Freddie Highmore) to arrive with questions that crack open her carefully sealed past. What begins as an awkward family reunion quickly unravels into an international chase, testing both their survival skills and their ability to trust each other.

In LITTLE TROUBLE GIRLS, debut filmmaker Urška Djukić transforms a seemingly simple story of adolescence into something layered, lyrical, and quietly confrontational. Set within the walls of a Catholic school and its devout choir, the film doesn’t settle for a tale of rebellion; instead, it examines what happens when self-discovery collides with faith — when the body becomes its own kind of confessional. It’s both intimate and unnerving, told through delicate gestures and unspoken questions that linger long after the credits fade.

There’s a raw honesty that clings to BOSTON KICKOUT, Paul Hills’ semi-autobiographical debut, newly restored in 4K for its 30th anniversary, captures the malaise of working-class Britain in the early 1990s. In this place, youth gives way to frustration, where concrete estates breed both boredom and defiance. It’s a film that never shouts its message yet leaves you with the dull ache of recognition: the sense that some generations were promised everything and given almost nothing.

When RED PLANET arrived in 2000, the world was still dreaming about reaching Mars. Instead of hope, what audiences got was a film that turned that dream into a desperate, oxygen-starved survival story. It came out the same year as Brian De Palma’s MISSION TO MARS, giving us one of the oddest box office rivalries of its era: two big-budget, serious-faced Mars movies released months apart, each trying to prove who could make humanity’s last hope look more believable. Antony Hoffman’s film didn’t win that race, but it didn’t completely crash either—it simply stranded itself somewhere between philosophical drama and popcorn survival thriller.

REAWAKENING opens not with a mystery, but with an ache. It’s a story about parents who have spent a decade trapped between denial and despair, living in a routine that barely hides the damage beneath. When their missing daughter suddenly returns as an adult, the film doesn’t give us all the answers—it lingers in the haunting question of what happens when grief is forced to change shape.

Timo Vuorensola has always been a director drawn to extremes. Whether sending Nazis to the Moon in IRON SKY or reimagining horror as an absolute and unintentional trainwreck through JEEPERS CREEPERS: REBORN. ALTERED continues that pattern — a stylish, high-concept dystopian thriller that wants to question humanity’s obsession with improvement but occasionally drowns in its own ambition. It’s an impressive spectacle for what it aims to be, yet one that constantly struggles against uneven storytelling and thematic overload.

THE MIGHTY NEIN marks the next step for Critical Role’s expanding universe. Following the success of THE LEGEND OF VOX MACHINA, this animated adaptation of the tabletop campaign dives headfirst into darker, stranger, and more emotionally complex territory. Where VOX MACHINA leaned on boisterous energy and humor, THE MIGHTY NEIN sharpens its focus on fractured characters and the messy “humanity” behind their heroics. The result is an eight-episode first season that balances adventure, absurdity, and anguish in equal measure.

THE NAUGHTY LIST OF MR. SCROOGE begins with something that works immediately: a group of former college friends gathering for a holiday reunion in a remote chalet, only to find themselves stalked by someone dressed as an (very) unnerving version of Ebenezer Scrooge. It’s a straightforward setup, but the film leans into its seasonal hook with enough confidence to stand apart from the usual Christmas horror offerings. The snowy, isolated setting lends the story a natural sense of unease before the violence even begins, and the film wastes no time turning those early hints of tension into something.

LAUREL & HARDY: THE DEFINITIVE RESTORATIONS VOLUME 2 arrives as both an act of preservation and celebration. What Kit Parker Films and MVD Entertainment have assembled here is more than a nostalgia trip—it’s a technical and collector triumph that reintroduces one of cinema’s most influential duos to audiences who may have only known their work through faded prints or clips on YouTube. This Blu-ray set restores not just image and sound, but also a sense of comedy and timing that modern audiences may have forgotten how to appreciate.

What happens when art literally moves into the heart of consumerism? SECRET MALL APARTMENT answers that question with humor, heart, and rebellion. Director Jeremy Workman transforms an already-legendary story into an unexpectedly soulful documentary — one that finds as much beauty in drywall and duct tape as it does in the artists who dared to imagine a home within the walls of Providence Place Mall. The result is part social experiment, part philosophical study, and part love letter to the kind of creativity that refuses to play by the rules.

SCARLET LETTER is a microcosm of an exploration of love’s volatility — the soaring highs that feel world-defining and the sudden heartbreaks that threaten to undo it all. Across just three minutes, writer/director/co-star Cole Komssi distills a relationship into emotionally loaded moments that show how affection and pain often coexist, sometimes within the same breath.

DIEGO VELÁZQUEZ: A BODY OF WORK takes a fascinating premise — the pursuit of a long-lost artistic masterpiece — and gives it a psychological twist, exploring how desire, obsession, and secrecy can blur the lines between admiration and fixation. Director Walter Ernest Haussner crafts a short drama that feels like a collision between art history and tension, reminding viewers that sometimes the most dangerous mysteries aren’t locked away in museums, but hidden in human behavior.