Every Tuesday, I review the newest Blu-ray releases and let you know whether they’re worth buying, renting or skipping, along with a breakdown of the included extras. If you see something you like, click on the cover art to purchase the Blu-ray from Amazon, and be sure to share each week’s column on Facebook and Twitter with your friends.

WHAT: Filmed in the months leading up to the annual Unholy Masquerade Ball, a documentary crew follows a group of vampires – including Victorian dandy Viago (Taika Waititi), medieval torturer Vladimir (Jemaine Clement) and resident bad boy Deacon (Jonathan Brugh) – living together in Wellington, New Zealand as they deal with the dull minutiae of everyday life as an ancient bloodsucker. But when newly turned vampire Nick (Cori Gonzalez-Macuer) moves in, he helps usher his fellow housemates into the 21st century.

WHY: “What We Do in the Shadows” sounds like a bad comedy sketch – a “Real World”-esque reality show with vampires in place of horny millennials – but it’s actually a very funny satire of the vampire subgenre that’s done in the deadpan style of a Christopher Guest mockumentary. Because of the loose, improvisational nature of the film, not every joke lands, but the ones that do are laugh-out-loud hilarious, skewering centuries of vampire lore with goofy sight gags, clever observations about vamp culture and run-ins with a pack of werewolves led by Jemaine Clement’s “Flight of the Conchords” co-star Rhys Darby. But for everything that the movie gets right, “What We Do in the Shadows” suffers from the same problem as Taika Waititi and Clement’s last collaboration, the geek-chic rom-com “Eagle vs. Shark” – namely, that the concept feels like it’s been stretched well beyond its limits, despite the brisk 85-minute runtime. This is an idea that was better suited as a short film, although there’s so much funny material here that it’s understandable why they felt the need to expand it to feature length. As a result, “What We Do in the Shadows” never quite attains the instant cult status that it seems to be heading towards in the first act, but any movie that makes you laugh this hard (even if only sporadically) deserves the shower of praise that’s been heaped upon it.

EXTRAS: There’s an audio commentary by writers/directors/stars Jemaine Clement and Taika Waititi, a behind-the-scenes featurette, deleted scenes, interviews and more.

FINAL VERDICT: RENT

WHAT: Several years after his three sons presumably died while fighting in the Battle of Gallipoli, Australian farmer Joseph Connor (Russell Crowe) travels to Turkey in search of the truth about what really happened on the battlefield.

WHY: For those wondering how an actor of Russell Crowe’s talent could possibly be convinced to star in a movie as atrocious as “Winter’s Tale,” look no further than his directorial debut, an equally overdramatic piece of pseudo-magical realism that thankfully isn’t quite as bad. Crowe certainly has a good eye for the kind of epic storytelling that he’s trying to achieve with his first stint behind the camera, but despite some decent visuals and a solid performance from the actor himself, “The Water Diviner” is too easily distracted by its numerous subplots. The story of Joshua’s search for his missing sons isn’t substantial enough to warrant an entire movie, so writers Andrew Knight and Andrew Anastasios have tacked on a romantic subplot between Crowe and Olga Kurylenko’s Turkish widow (which doesn’t seem right considering Joshua is still mourning the death of his wife), as well as flashbacks of his sons in battle that are incredibly difficult to watch. The latter wouldn’t be that much of a problem if the film stuck by its message that war is cruel and unforgiving, but “The Water Diviner” ends on such an uplifting note that it cuts right through that grim realism in favor of hokey Hollywood optimism. (Note: This title will be released next Tuesday, July 28th.)

EXTRAS: There’s a making-of featurette and a retrospective on the Battle of Gallipoli.

FINAL VERDICT: RENT

Thanks to modern technology, car safety has significantly improved over the past several years. In fact, many safety features that were once luxury additions just years ago are now standard for most new cars today. With all the new safety features available in today’s cars, it’s easy to confuse what you really need with what you can live without. But by remembering to focus on the fundamental safety features for any car, you’ll find it easier to make your way through all the safety features that companies offer today. If you’re looking to buy a new car soon, then remember to make sure that it has these five key safety features.

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Blackspots are locations on any road that have a history of accidents. You’ve probably encountered many over the years and will continue to do so. It’s vital you be cautious whenever you drive, and be aware of five of the most common types of blackspots.

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Amy Schumer, Bill Hader, Brie Larson, LeBron James, Colin Quinn

Judd Apatow

Judd Apatow’s films often cover heavy, emotionally complicated territory, but they’re ice cold at the same time. The subject matter is relatable, but the manner in which it’s treated bears little resemblance to real life. (The most egregious offender: “This Is 40.” Now let us never speak of it again.) “Trainwreck,” by comparison, is the most honest, heartfelt film Apatow has made to date, and it’s hard not to notice that it’s also the first time he directed a script that he didn’t have a hand in writing.

Some back story, for the unfamiliar: Apatow has taken heat over the years for underwriting his female roles – and yes, that criticism came largely from Katherine Heigl, who cashed some monster paychecks after receiving a massive career boost by appearing in his 2007 film “Knocked Up,” therefore people accuse her of biting the hand that fed her, and while that may be the case, she’s not wrong – and perhaps this was Apatow’s attempt to make amends, by directing a script written by a woman (Amy Schumer). The crazy thing is, Schumer’s character in many ways embodies the very traits that Heigl protested (reckless, irresponsible, unaccountable), but with the female character in the lead role, you get something that previous Apatow films never provided, and that is perspective: we get both the ‘what’ and the ‘why’ of her character’s behavior. Also, there are no shrews in this movie. Apatow’s other movies were loaded with shrews. Who likes shrews that much?

Amy Townsend (Schumer) writes for S’Nuff, a Gawker-esque magazine with roughly 75% less humanity. She also parties nonstop and sleeps around, even though she has a boyfriend (John Cena). A fellow writer pitches an article about Aaron Conners (Bill Hader), a surgeon who’s come up with a revolutionary knee procedure that will greatly reduce recovery time for athletes. S’Nuff editor Dianna (Tilda Swinton, in full Anna Wintour mode) likes the story, but assigns it to Amy, because Amy has admitted that she hates sports, and Dianna likes the idea of the paradox. Amy surprisingly finds herself fascinated with both Aaron and his work, and when she unprofessionally consummates their professional arrangement, she does unthinkable things, like actually agreeing to spend the night at his place and generally being less afraid of commitment. Amy is confused by this new change to the game plan, and she responds to it the only way she knows how: self-destruction.

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Joaquin Phoenix, Emma Stone, Parker Posey, Jamie Blackley

Woody Allen

Woody Allen is the ballplayer of filmmakers. He probably takes more swings than any other writer-director working today, so when he misses, even badly, they often go unnoticed. That was certainly the case with his 2014 film, “Magic in the Moonlight,” a lifeless romantic comedy that wasted the talent of its two stars. Allen’s latest movie, “Irrational Man,” is all about life and the pain that comes with it, and though it isn’t quite a homerun, it’s a solid double down the line that ranks as one of the director’s funnier and more engaging character studies.

Everyone likes Abe Lucas (Joaquin Phoenix) except Abe Lucas. His students and peers consider the philosophy professor to be mysterious, intriguing and sexy, but he has nothing going for himself since his wife left him and his best friend passed away. One of his students, Jill (Emma Stone), takes an interest in Abe and all his misery, as does a lonely professor named Rita (Parker Posey), but despite being romantically pursued by a young girl and a gorgeous woman, Abe remains a Debbie Downer. One day, though, his whole attitude and outlook on life changes when Abe and Jill overhear a conversation at a diner. Without spoiling it, the conversation gives him a reason to stop talking about making a change in the world and actually make one, and convinced of his newfound sense of purpose, Abe only becomes more lost than he already was.

Abe Lucas is one of Allen’s more unlikable protagonists. He drinks and drives, sleeps with a married woman, and his mission ultimately makes him something of a monster, although a very real and human monster. Abe’s lesson to his students is to accept your flaws and embrace your selfish desire; at the expense of others, he’ll do whatever it takes to survive. This all sounds very vague, but like “Midnight in Paris,” the turn in Abe Lucas’ journey is surprising, and it’s best to experience it blind.

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