We can’t take any credit for our talents. It’s how we use them that counts.”

Much has been made about the fact that Ava DuVernay’s A Wrinkle in Time is the most expensive movie ever directed by a woman of color, carrying a reported $103-million price tag. The good news is the filmmaker has absolutely infused her own personality and perspective into this live-action Disney spectacle (no small feat, by the way). The bad news is that DuVernay has taken those considerable resources and made a wildly uneven movie that, at various points, somehow manages to look both way more expensive and way cheaper than its budget would suggest.

“The nail that sticks out gets hammered down.”

Freak Show centers on a flamboyant, fish-out-of-water teen who doesn’t fit in among his fellow high schoolers. The movie — a promising directorial debut from Trudie Styler, aka the wife of legendary musician Sting — works best when it finally lands on the notion that practically every teenager feels like a “freak” at one point or another. It’s a good, worthwhile message; the problem is other aspects of this film are about as subtle as Billy’s wardrobe and makeup choices.

For this week's busy Round Up, we're going down to a certain fictional Colorado town and having ourselves a time. Paramount/Comedy Central releases South Park: Season 21 this week, and it's sure to both offend and crack you up. Elsewhere, Warner Bros. finds romance each and Every Day, while Cult Epics becomes acquainted with Frank & Lola. Cinedigm follows the yellow brick road with Steam Engines of Oz, while SKO looks at things from a new angle with Altered Perception. Meanwhile, Film Movement travels to Japan for unconventional romance Oh Lucy! and quiets down with The Great Silence. Rooster Teeth gets animated with RWBY: Volume 5, while Shout! Factory stands out in a fabulous way with Freak Show. Finally, Disney goes on an interdimensional adventure with A Wrinkle in Time and learns how to fly with Peter Pan: Multi-Screen Edition. (Read our review of the latter now.) You can also currently check out our reviews of Shout! Factory's Satellite Girl & Milk Cow, CBS' Jericho: The Complete Series and The Invaders: The Complete Series.

But wait...there's more! In addition to the home video titles we just mentioned, UpcomingDiscs is going to the movies a lot this week: we'll be checking into Hotel Artemis, dealing with family demons in Hereditary, getting in touch with our spiritual side with First Reformed, and pulling off the heist of a lifetime with Ocean's 8. One last reminder before signing off for the week: if you’re shopping for anything on Amazon and you do it through one of our links, it’ll help keep the lights on here at UpcomingDiscs. See ya next week!

Look, all funny guys are damaged.”

It's no secret that some of the greatest and most memorable stand-up comics of all time — Lenny Bruce, Richard Pryor and Robin Williams, to name a few — were as troubled as they were talented. Of course, turning their inner turmoil into comedy was a big part of what made them legends. Showtime's I'm Dying Up Here is a dramedy about a group of struggling Los Angeles comics in the 1970s. But the show is at its worst when it takes the art of stand-up comedy way too seriously.

"All this has happened before and will all happen again. But this time it happened in London. It happened on a quiet street in Bloomsbury. That corner house is the house of the Darling family, and Peter Pan chose this particular house because these were people who believed in him..."

In 1953, with a little help from some Walt Disney magic, generations of children, and adults, of course, would learn to believe in the boy who never grew up. Peter Pan began in the imagination of writer J. M. Barrie. He appeared in a number of works from the Scottish author beginning in 1902 with The Little White Bird. The character had always been a favorite of Walt Disney himself, and it was originally intended as his second animated feature following Snow White. It became quickly apparent that the technology wasn't quite where he needed it to be to tell the story he wanted to tell. It was put on a shelf, but never forgotten. The rights to the character were willed to the children of a children's hospital in London, and it was from there that Walt managed to obtain the film rights for the animated feature we have today. Peter Pan has enjoyed success in pretty much every medium possible. There have been hugely popular stage productions where Peter was usually played by a woman. The character has appeared in film, music, comics, television, radio plays and, of course, printed form. He's an endearing and certainly enduring character who has now added high-definition Blu-ray to the list.

Just because you’re paranoid doesn’t mean they’re not really out to get you. That old axiom has never been more true than for David Vincent in the Martin Quinn series The Invaders. Quinn was best known for his police procedural shows like The FBI. At the time of the The Invaders, Quinn was coming going into the final season of one of his most popular shows, The Fugitive. While most people over the years has compared The Invaders to that Quinn production, they were really not as similar as all of that. In The Fugitive the hero, Richard Kimball played by David Janssen had a very specific mission. He was wrongly convicted of killing his wife and was on the trail of the real killer, whom he had witnessed. The “one-armed man” became an iconic figure in television history and provided Dr. Kimball with his “holy grail”. David Vincent’s mission was far more complicated and seldom so cut and dry. He was honestly more akin to Dr. Bennell, played by sci-fi favorite Kevin McCarthy from Invasion Of The Body Snatchers. In both cases you had one man who knew that aliens were invading and even replacing humans. As I watched this collection of Invaders episodes, I couldn’t help but be reminded of McCarthy’s famous scene running down the street trying to convince the world of the impending invasion.

The Invaders maintained several Quinn trademark touches. The episode was broken down into four acts and an epilog, each labeled as you came out of the commercials. Quinn also used a stable of actors as guests that showed up on almost all of his shows. If you look up most of the guest stars on this set you will find a vast majority of them also made appearances on The FBI, The Fugitive, The Streets Of San Francisco, and Manhunter. He was very much like his contemporary Irwin Allen, who was producing cheesy science fiction shows at the same time. Quinn writers were adept at quick, punchy dialog that was also a common thread in his productions. None of these characters spoke like normal people. There was always a theatrical but often abbreviated cadence to what was being said. Quinn also made heavy use of narration and The Invaders is no exception. Each episode begins with a short narration, often setting up the story and finally moralizing in the end. The music and narration sound very much like Outer Limits episodes.

My very first impression was that this show was very ambitious from the gate. Perhaps the show’s fatal flaw is that it attempts to tackle far too many serious issues, complete with complex undertones, with the largest ensemble cast I’ve seen yet. Add this to the fact that the world is still a little sensitive to terrorist attacks, and you have a recipe for keeping your audience relatively small. None of these things are bad elements in and among themselves, and I’m certainly not suggesting that these issues need to be abandoned. I’ve been a high school teacher, and one thing any of us can tell you is that there’s only so much a person can absorb in a given amount of time.

The premise almost sounds simple and unoriginal in the telling. Several terrorist organizations in a coordinated attack manage to nuke at least 22 American cities. Far enough from a Denver blast to survive are the residents of Jericho, Kansas. We’re talking small town with small-town politics and mentality. Jake Green (Ulrich) has been away for some years. He was back visiting when the attack occurred and finds himself taking a lot of the town’s survival on his shoulders. He’d been kind of the renegade son of the town’s long-time mayor. The series begins to resemble the popular Lost from here on out. We’re talking a group of people isolated from the rest of the world under mysterious circumstances. The characters remarkably mirror Lost, down to the pregnant woman and the man with a sinister past who happens to know a lot about surviving a nuclear attack. Also like Lost, the characters’ past is often explored, leading to common threads they might not even know they share. The nation’s surviving towns become almost sovereign states unto themselves. Each develops a unique political structure and raises fighting forces. Before long these other towns begin to engage in disputes and attacks. The problem for me is there are far too many characters and way too complicated situations, so that I was never able to connect with any one character on the series. It’s obvious we are intended to relate to Jake, but I was never able to do that.

Much to the dismay of probably most of my family and friends, I like to watch lots of weird films. Films directed by David Lynch, Planet of the Apes movies, and Johnny Mnemonic (I freaking love that movie) among many others I have watched over and over again. This is even more true with animation as I love to find clever styles that goes beyond convention and still produce a wonderful and thrilling story. So today, I review Satellite Girl and Milk Cow, a Korean animation film that is sure to test the boundaries of my fondness for weirdness. Is it too much for this critic or is it right in my sweet spot? Let's find out.

Above the Earth, we see various satellites circle the great planet. One of those satellites is named KITSAT-1 who takes pictures of the Korean Peninsula and provides other measurements. But like all things, KITSAT-1 has started to break down and stop working. Instead she uses her time to focus in on various sounds, sounds like a boy playing a wonderful song on a piano at a lonely club. The sound captivates her so much, she decides to speed towards Earth to seek it out.

Much to the dismay of probably most of my family and friends, I like to watch lots of weird films. Films directed by David Lynch, Planet of the Apes movies, and Johnny Mnemonic (I freaking love that movie) among many others I have watched over and over again. This is even more true with animation as I love to find clever styles that goes beyond convention and still produce a wonderful and thrilling story. So today, I review Satellite Girl and Milk Cow, a Korean animation film that is sure to test the boundaries of my fondness for weirdness. Is it too much for this critic or is it right in my sweet spot? Let's find out.

Above the Earth, we see various satellites circle the great planet. One of those satellites is named KITSAT-1 who takes pictures of the Korean Peninsula and provides other measurements. But like all things, KITSAT-1 has started to break down and stop working. Instead she uses her time to focus in on various sounds, sounds like a boy playing a wonderful song on a piano at a lonely club. The sound captivates her so much, she decides to speed towards Earth to seek it out.

“Welcome to Jurassic Park.”

With those words begin an adventure that started with the legacy of Willis O’Brien’s The Lost World. You see, dinosaur films are nothing new; they have held our childlike fascination since the industry was born. Jurassic Park was, however, something very new when it thundered into our cineplexes and forever into our imaginations 20 years ago. The marriage of brand new CGI technology with Stan Winston’s superbly detailed animatronics models transports you back 65 million years in time. CGI technology has improved since then and has become somewhat commonplace, but there is nothing common about Jurassic Park.