We haven't forgotten the little ones this 31 Nights Of Terror. Disney knows how to make even the Halloween scares a little bit less frightening and a little more fun. They've given us a copy of Mickey Mouse Merry & Scary on DVD to help celebrate the spooky season. It's a mash-up of Christmas and Halloween You get  The Scariest Story Ever: A Mickey Mouse Halloween Spooktaular. Mickey tries to tell the ultimate scary story. You also get Duck The Halls: A Mickey Mouse Christmas Special. Donald is resisting the call to migrate south but he finds out shivering in December might not be all it's quacked up to be. You also get 5 bonus short features. It's a Holiday Collection extravaganza and one faithful Upcomingdiscs follower is going to get the goods.

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Yo-ho, yo-ho, it's a pirate's life for us here at UpcomingDiscs HQ! Lucky for us, we didn't have to plunder Disney's treasure chest...the Mouse House was kind enough to send us some of their most valuable booty on their own. Pirates of the Caribbean: Dead Men Tell No Tales arrives in both 4K and on Blu-ray this week. Elsewhere, Shout! Factory mines drama out of the When Calls the Heart 6-Movie Collection and prepares for the worst with The Survavilist. Cohen Media Group relives one of the world's darkest hours with Churchill, Acorn goes searching for Loch Ness: Season 1, and Warner Bros. shuffles along with iZombie: Season 3. Finally, HBO examines the downfall of Bernie Madoff with The Wizard of Lies.

This is the start of a new month, but I'm going to give you the same ol' reminder: 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!

You love this type of drama.”

When Fox’s Empire premiered in early 2015, it became an instant sensation that re-wrote the ratings record books. The show’s mix of high drama and hip-hop obviously struck a chord with an underserved segment of TV viewers. Of course, that sort of otherworldly buzz and ratings success was never going to be sustainable. So while Empire has inevitably lost some of the sizzle from its unprecedented debut, this unapologetically over-the-top soap rap-era continues to entertain by leaning into its Twitter-shattering craziness.

We kick off our 31 Nights Of Terror by sending you on a little trip out to a certain Cabin In The Woods. That's right, we've got a copy of the cult classic The Cabin In The Woods on Blu-ray and it's going out to one of the Upcomingdiscs faithful. We just reviewed the film on 4K and here's a little something for those of you who aren't quite at the UHD market.

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"If it ain't broke, don't fix it. The saying's as true of the human body as it is of a washing machine or a blender. A good surgeon knows that if you go screwing around with something that doesn't need screwing, you are the one who is liable to end up screwed." 

One of those things on television that doesn't appear "broke" is Grey's Anatomy, heading into its 14th season on ABC. By now Shondra Rhimes must own a pretty big piece of ABC. OK, she doesn't likely own any of Disney, ABC's parent company, but if this were a game of Monopoly, Rhimes would be smiling all the way to the fake bank.

“Backslidin’, how do you do? These slippery people gonna see you through.” 

It has been a long while since I have witnessed a pop song’s lyrics fit so poetically into a feature film. “Slippery People” is a track off the groundbreaking Talking Heads album, Speaking in Tongues, released in 1983. Not only does this song fit the plot of American Made within its lyrics (hints of backsliding with a lot of slippery people), but it also represents a specific aesthetic for one of the many years shown throughout the film.

I taught at a Florida high school that took two state championships in seven years, and believe me, I know how seriously these schools take their football. I’m told Texas treats high school football as something sacred to be worshipped, and church meets every Friday night during the fall season. If that’s the case, I can’t imagine a series capturing the emotion that goes into one of these programs as well as Friday Night Lights has. Taken from the film of the same name, the series is even better. So many things about this freshman show impressed me throughout its season run. The cast of relative unknowns, except for Kyle Chandler and perhaps Connie Britton, morph into their characters so well you might never know that a good many of them are performing in their first show. This cast gives new meaning to the term ensemble cast.

“These movies that I’ve done, they are massive movies. They take a lot out of you.”

That’s director Michael Bay talking about his decade-long work on the Transformers franchise on the eve of the fifth(!) film’s arrival. The movie also doubles as Bay’s swan song in the director’s chair, so when he says, “They take a lot out of you,” the filmmaker is presumably talking about the massive amount of energy and manpower (and horsepower) these big-budget bonanzas require. The problem is “They take a lot out of you” has also applied more and more to each subsequent movie in this series. Transfomers: The Last Knight isn’t just a bad movie…it is painful and exhausting to watch.

We all remember Ed O'Neill as Al Bundy from Married With Children. It's an iconic role that he'll never be able to shake no matter what he does for the rest of his life. After that series ended its 11-year run, he even attempted to get out of comedy and take more dramatic roles. I'm sure there was a deliberate intent to try to distance himself from Al. It's not that he likely didn't love playing the role. He just wanted to avoid getting forever typecast in the mold. Those efforts weren't all that successful. But now he's back where he belongs again in a pretty solid sit-com. He's not playing Al Bundy any more, although you won't have to look very hard to find some of Bundy in Jay from Modern Family.

With a title like 2:22 it’s more than a little on-the-nose to point out something major is going to occur at this time.  For a film about premonitions, it’s a shame the film opens up as it does, because it leaves no mystery to the audience and simply tells us what is going to happen, or at least something close enough in the film’s final act.  I hate films that are done in flashback just as much as I hate it when it doesn’t put in the effort to conceal how things are going to unfold.  In a lot of ways the film is like Groundhog Day, only instead of the same day replaying over and over, it is the same events occurring over and over for our protagonist to figure out.