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 social media with your friends.

WHAT: When childhood friends/physicists Erin Gilbert (Kristen Wiig) and Abby Yates (Melissa McCarthy) experience an actual paranormal sighting, they team up with oddball nuclear engineer Jillian Holtzman (Kate McKinnon) and street-smart MTA worker Patty Tolan (Leslie Jones) to capture a ghost as proof that they exist. Meanwhile, a bullied hotel janitor named Rowan (Neil Casey) has begun planting devices around the city that amplify paranormal activity in the hopes of opening a portal to a ghostly dimension, and the only ones capable of stopping him are the newly formed Ghostbusters.

WHY: One of the main reasons why the original “Ghostbusters” was such a huge success was the camaraderie among its four leads, and though the characters in Paul Feig’s gender-swapped reboot have their individual moments to shine (particularly “Saturday Night Live” star Kate McKinnon), the team chemistry isn’t nearly as strong. However, that’s just the start of the film’s problems, because it’s also marred by an incredibly lame villain and an underdeveloped script that results in many jokes falling flat. The movie isn’t without its charms – the action sequences deliver the thrills that you’d expect from a modern “Ghostbusters” film, and Feig does a solid job of weaving horror and sci-fi elements throughout – but it’s never allowed to completely be its own thing. Any time the movie tries to pay homage to the 1984 version, it loses whatever momentum it’s built up to that point. That ultimately proves to be its undoing, because while “Ghostbusters” is an occasionally entertaining and mostly harmless reboot, it lacks the nuance and comic energy that made its predecessor an instant classic.

EXTRAS: In addition to a pair of audio commentaries (one with director/co-writer Paul Feig and co-writer Katie Dippold, and the other with Feig and various crew members), there’s a series of production featurettes covering things like casting, creature design and visual effects, over an hour of deleted/extended scenes, alternate takes and two different gag reels.

FINAL VERDICT: RENT

WHAT: After leaving the jungles of Africa to assume his rightful position as British aristocrat John Clayton III alongside his wife Jane (Margot Robbie), the man formerly known as Tarzan (Alexander Skarsgård) is lured back to the Congo under false pretenses. When Jane is kidnapped upon their arrival, John teams up with American statesman George Washington Williams (Samuel L. Jackson) in order to rescue her from the villainous Leon Rom (Christoph Waltz).

WHY: It’s been over 100 years since Edgar Rice Burroughs published his first Tarzan novel and nearly half that long since the character was last relevant in pop culture, and that’s because it’s a relatively hokey premise that’s firmly rooted in the sensibilities of a bygone era. Though director David Yates’ reboot is admirably old-fashioned in execution – a gorgeously filmed adventure movie shot with classic Hollywood grandeur – “The Legend of Tarzan®” is as soulless as the registered trademark symbol that appears on the opening title card. Everything about this film is woefully undercooked, from the story, to the acting, to the visual effects, which look photorealistic in some scenes and unpolished in others. Even the action sequences aren’t terribly exciting; in fact, they’re so poorly edited that it seems like entire beats have been removed to save money in post-production. It wouldn’t surprise me if that was true, because “The Legend of Tarzan” – a would-be event film that happens to be pretty uneventful – has the air of a big budget movie whose studio didn’t realize its mistake until it was too late.

EXTRAS: The Blu-ray release includes a behind-the-scenes look at production – including visual effects, stunt choreography and location shooting in Gabon – as well as a featurette examining Tarzan and Jane’s iconic relationship.

FINAL VERDICT: SKIP

WHAT: When his estranged teenage daughter (Emily Moriarty) is targeted by a drug cartel, ex-convict John Link (Mel Gibson) must protect her by any means necessary.

WHY: Mel Gibson is no stranger to a comeback, and following his brief return to the big screen with movies like “The Beaver,” “Machete Kills” and “The Expendables 3,” the actor delivers arguably his best work in years in the indie crime thriller “Blood Father.” Based on Peter Craig’s novel of the same name, the film is about as formulaic as they come, littered with paper-thin villains and every cliché imaginable. Fortunately, that lack of originality is offset by Gibson’s highly entertaining performance, turning what should have been a rather forgettable B-movie into something worth seeing. Regardless of how you feel about his personal antics, there’s no denying that Gibson is a talented actor, and his mixture of charm, danger and zaniness (all qualities that made Martin Riggs an action movie icon) are on full display in director Jean-François Richet’s darkly comic thriller. “Blood Father” is hardly a cult classic in the making, but it’s an important step in Gibson’s career that shows he’s still a capable leading man when he’s not causing controversy.

EXTRAS: There’s a fairly substantial making-of featurette, but that’s all.

FINAL VERDICT: RENT

WHAT: In 1986, U.S. Customs agent Robert Mazur (Bryan Cranston) went undercover to expose a money laundering scheme involving Columbian drug lord Pablo Escobar by befriending one of his top lieutenants, Roberto Alcaino (Benjamin Bratt).

WHY: Pablo Escobar seems to be all the rage these days in Hollywood – from the Netflix original series “Narcos” to the upcoming biopic starring Javier Bardem – and director Brad Furman’s true-life crime drama is just the latest project to exploit the drug kingpin’s sudden popularity. Granted, “The Infiltrator” is more about bringing down the men within his criminal network than Escobar himself, who appears in a blink-and-you’ll-miss-it cameo, but his presence still weighs heavily on the film. Although Bryan Cranston delivers arguably his best post-“Breaking Bad” performance as the federal agent spearheading the operation, the movie speeds through the whole investigation so quickly that it never feels as dangerous as it should. There are some wonderfully tense scenes early on, and it does a good job of hitting all the usual beats without feeling too familiar, but “The Infiltrator” would be a lot more engaging if it was afforded the time to explore its story, as well as the players involved, in greater detail.

EXTRAS: There’s an audio commentary by director Brad Furman and star Bryan Cranston, two behind-the-scenes featurettes and some deleted scenes.

FINAL VERDICT: RENT

WHAT: A coming-of-age tale that follows a boy named Mason Evans Jr. (Ellar Coltrane) from grade school to his first day of college, examining his relationship with his divorced parents (Ethan Hawke and Patricia Arquette) as he matures into a young man.

WHY: In an industry driven by innovation, it’s incredible that no one thought to make a movie like “Boyhood” before Richard Linklater embarked on his 12-year journey, because it’s a really great idea with even better execution. A cinematic time capsule of sorts in that you’re essentially watching a kid (both the character and actor playing him) grow up before your very eyes, the film has some really poignant things to say about adolescence, parenting and life in general. Though Patricia Arquette and Ethan Hawke deliver a pair of solid performances as Mason’s divorced parents, Ellar Coltrane is terrible as the main character, emitting almost no emotion throughout the course of the film. It’s always a gamble when you cast young actors for a lengthy project like this, but you’d think Coltrane would have improved over the years. He doesn’t, and that’s one of the biggest problems with the movie, making it a lot easier to admire than love as a result. There’s no question that “Boyhood” is a technical achievement and a one-of-a-kind piece of filmmaking, but whether it deserves the many accolades that have followed is debatable.

EXTRAS: The Criterion release features hours of new bonus material, including an audio commentary by writer/director Richard Linklater and various cast and crew, a making-of documentary, a Q&A with Linklater and actors Patricia Arquette and Ellar Coltrane, a video essay by film critic Michael Koresky and much more.

FINAL VERDICT: RENT