Reboots are all the rage in Hollywood, in case you haven't heard. Even a relatively low-key property like the Diary of a Wimpy Kid Cinematic Universe series isn't immune. Based on the wildly popular books by author Jeff Kinney, the first three movies featured the same core group of likable actors and become rock solid hits made on modest budgets. So you can understand why Fox would want to keep the series going, even if original star Zachary Gordon became too old to play the perpetually put-upon (and middle school-aged) Greg Heffley. This latest offering features an all-new cast, but too much of the same cringeworthy and juvenile humor; it'll make you wish someone had hidden the reset button from this franchise.

If there's one thing I've learned from my years of being a kid, it's that you have zero control over your own life.”

“Of course I have issues; that’s my father.” 

When I walked out of the theater in 2014 after seeing Guardians of the Galaxy, I knew I had just seen something special, and knowing a sequel was already guaranteed had me excited to see what was next for this band of misfits.  Since the release in 2014 the film hasn’t just become my favorite Marvel film; it is one of my favorite films, period.  So as photos and trailers began to trickle out, I began to wonder if Guardians of the Galaxy Vol. 2 could actually hold up to the first.  For many the first film was a surprise hit that no one saw coming, something so toe-tapping fun between the soundtrack and action scenes, but most importantly it was the chemistry of the Guardians that had won over the audiences.

There is a dying breed of musicians in the deep south that are the last remnants of the roots of the Blues. Many of them are gone and those that do remain are in their 80's and 90's. Someone needed to get down there and capture this treasure before it's gone forever. That somebody turns out to be Daniel Cross, who put together the visceral and emotional documentary I Am The Blues. He spent time with these musicians. He listened to their stories and their songs. I had the opportunity to talk with Daniel and he shared those experiences. You really have to hear what he discovered. Bang it here to listen in on my chat with Daniel Cross

You can also find out more about the film and see extra footage by banging it here: I Am The Blues

A few minutes of watching the news lately will reflect an ongoing division in race, but the one divide that seems to be more prevalent is the one between blue- and white-collar Americans. The Purge franchise has tapped into this and the exploitation of the classes being ramped up to a high degree. But personally I feel that’s a franchise that still is missing a rawness that never quite allows you to feel that it is real; it’s like a dark fairytale of what may come in the distant future. Union Furnace, instead, takes a more grounded approach to the upper class taking advantage of those in need and presents what could be a terrifying reality going on in small town America. While I appreciate the sense of realism,I have to admit I wish it wasn’t so gun-shy and afraid to take us into this dark hole of humanity. How dark does it go? It all depends if you’re willing to play along.

Cody (Mike Dwyer) is a down-on-his-luck car thief who has debts all around but simply has no way of paying them off. It’s bad to the point he knows a beatdown — if not a bullet — is in his near future. When Cody crosses paths with a slick southern gentleman (Seth Hammond), he is offered a way out and even the chance to make more money: all he has to do is agree to show up at a certain location. When Cody does arrive, he’s taken to a room full of other strangers where they are asked to play along in an all-or-nothing game. Each round, the money they win will increase, but if they lose they take home nothing.

It was 50 years ago this year that Rowan & Martin's Laugh-In first appeared on NBC. It quickly took the country by storm. The show added such pop culture staples as Sock It To Me, You Bet Your Bippy and Here Comes The Judge. The show managed to attract the biggest names in entertainment of the era. The cast have gone on to become household names. It's where stars like Goldie Hawn, Arti Johnson and Lily Tomlin got their starts. And it all started with the mind of George Schlatter. After all of those years George still has quite a bit of spunk left. I had the honor to spend nearly a half hour talking to him. Now you get to hear what he had to say. Bang it here to listen to my chat with George Schlatter.

You can also find out more about the complete series of Laugh-In by going Here.

In one corner you have U.S Attorney Chuck "The Scholar" Rhodes, played by Paul Giamatti. He's the reigning world champion with a record of 80+ to 0. In the other corner is Bobby "Axe" Axelrod, played by Damian Lewis; he could also be considered undefeated. He runs a sexy brokerage firm. Both of these guys walk and talk like champs. There's a lot of trash-talk between them, but both have very lurid and potentially devastating skeletons in their perspective closets. This season finds them each willing to risk anything just to get to the other.

The strength of two very strong performances immerses us in each of these worlds to a point that we discover something none of these players know, or at least would be willing to admit. They are very much the same, and the culture of their careers is more alike than not. Both are willing to bend a rule for "the common good", and both believe themselves to be the heroes of their own stories. And that's where the writing and acting come together for a nice perfect storm. Both characters are heroes to the people around them. They've developed almost cult followings. Both are admirable people. Of course, the opposite is just as true. These guys can both play the anti-hero with the best of them. There is both great good and great evil in both. If that sounds complicated here, just imagine how hard it would be to actually pull off. And in Season Two that obsession goes to limits that surprised even me. Both men are literally willing to give up their families, wealth, and careers to bring down the other. The term “nuclear option” means nothing to these guys. The final couple of episodes play out a round in this game that could very well take them both out. They cross some very big lines that you simply can't come back from.

"Welcome back to New Orleans."

The most recent member of the NCIS family enters its third season. There are some changes, but not just in the show's cast. I have noticed a concerted effort to use the term NOLA by both the characters and various signs and symbols displayed throughout the new season. It's a bit odd, because at one point a character chastises an outsider that the locals prefer New Orleans. Minutes later that same character uses the term NOLA. The crew now even wear lanyards that say NCIS:NOLA on them. I have not been to New Orleans post-Katrina, so I'm not up on whatever local thing might be going on with the name. I suspect there are some politicians who are using the new designation in order to help re-brand the city. Whatever's going on, the series is apparently caught up in it. The term even shows up in episode titles.

Everyone's favorite rag-tag team of rollicking a-holes is back for another adventure. And no I'm not talking about myself and the rest of the UpcomingDiscs staff...Disney's Guardians of the Galaxy, Vol. 2 arrives in 4K! But that's not the only ultra-HD title we're bringing you this week: Warner Bros. reboots one of the world's most famous stories with King Arthur: Legend of the Sword (4K). Meanwhile, Lionsgate hops in the backseat with The Lincoln Lawker (4K), while Cinedigm shoots straight with Hickok (4K). Paramount steps into the ring with Chuck, CBS visits the Big Easy with NCIS: New Orleans — Season 3, and Showtime goes for broke with Billions: Season 2. Meanwhile, Metropol Pictures turns up the heat with Union Furnace, while Fox pages through the Diary of a Wimpy Kid: The Long Haul and visits South America for the Amy Schumer/Goldie Hawn kidnapping caper Snatched.

But wait...there's more! Friday brings a pair of new theatrical releases for us to review: we'll let you know if it's safe to check out The Hitman's Bodyguard and spend a day at the races with Logan Lucky, Steven Soderbergh's new heist comedy. 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!

Suspenseful, intriguing, and exciting, The Lincoln Lawyer makes the legal system entertaining.  With all the TV attorney shows pushing for top ratings, this film comes at the right time.  A strong cast, excellent direction, and a riveting storyline make The Lincoln Lawyer a must-see. Mick Haller (Matthew McConaughey) keeps his legal business close to him, in his car.  Defending the lowlifes or whoever desperately needs legal assistance, Mick turns down very few clients.  While working on a questionable case, his confidant Val Valenzuela (John Leguizamo) gives him the name of Beverly Hills playboy Louis Roulet (Ryan Phillippe).

This client will pay big money to get him off for battery and rape. It’s the case of a lifetime, and Mick knows it.  Suspicious of the client, however, he brings on his friend Frank Levin (William H. Macy), a private detective. When they start getting conflicting evidence, Mick starts to get distrustful of Roulet.

"It is, I think, going to be a very harsh and unpleasant kind of business and will, I think, require an extremely harsh and unpleasant kind of man to see to it." 

That man, of course, is John Wayne. They called him The Duke, and he was indeed western cinema royalty for six decades. He represented the American ideal of the tough guy who stood up for the weak and didn't shy away from a fight. His characters usually worked hard, and they played just as hard. He had a unique way of turning a phrase and has been one of the most widely impersonated Hollywood voices. By the time the 1970's rolled around, Wayne was coming to the end of a long career. Some of these later roles showed a somewhat softer side to The Duke, and he was rarely doing any of his own stunts. Two of those later films were Rio Lobo and Big Jake. They aren't two of his most prominent roles and haven't had much of a wide release in the days since their release. They would show up on late show broadcasts, and Rio Lobo had yet to reach high definition and Blu-ray release. CBS changes that little oversight with a nice package they call a John Wayne Double Feature. For those of us who remember the days of the double feature, these two films fit the double-bill quite nicely. Here are two of the better John Wayne films that you likely have never seen, at least uncut and in high definition.