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: After successfully defeating Smaug, Bard the Bowman (Luke Evans) and the surviving citizens of Lake-town head to the Lonely Mountain seeking refuge. Thorin (Richard Armitage), who’s since been consumed by the dragon sickness, refuses to help, leading the humans and elves to declare war on the dwarves. But when Azog the Defiler and his battalion of orcs attack the dwarven stronghold, the three armies must put aside their differences and fight alongside each other in order to stop them.

WHY: Splitting “The Hobbit” into three movies has been a point of contention among fans ever since it was first announced, and the futility of that decision has never been more evident than with “The Battle of the Five Armies,” a 144-minute marathon of masturbatory excess in which the titular set piece (one that’s contained within a single chapter in J.R.R. Tolkien’s novel) makes up almost half of its bloated runtime. Much like the first two installments, the movie has its share of great moments, but they’re surrounded by a lot of extraneous filler that pushes Bilbo even further into the background. These films were supposed to be about Bilbo’s journey “there and back again,” but you wouldn’t know it from the ever-changing protagonists, shifting focus between Bilbo, Thorin and Bard the Bowman with such frequency that it leaves little room for actual character development. But while “The Battle of the Five Armies” may be the weakest entry in the “Hobbit” series, it’s a nonetheless fitting end to a trilogy that’s biggest problem was taking so long to get there. Could it have been better? Absolutely, especially when measured against the far superior “Lord of the Rings” films, but fans will love it regardless, and that’s to the credit of the fantastic ensemble cast, incredible visuals and Jackson’s limitless creativity.

EXTRAS: There’s a featurette about the five armies, a retrospective on Peter Jackson’s Middle-earth saga, and the final part of “New Zealand: Home of Middle-earth.”

FINAL VERDICT: RENT

WHAT: The true story of Olympic distance runner Louis Zamperini (Jack O’Connell), who spent a harrowing 47 days stranded in the Pacific Ocean with two fellow soldiers (Domhnall Gleeson and Finn Wittrock) after their plane crashed during WWII, only to eventually be rescued by the Japanese navy and sent to a POW camp run by a merciless commander known as The Bird (Miyavi).

WHY: It’s taken decades for a Louis Zamperini biopic to get made, and although that may be surprising considering his extraordinary story, it’s easy to see why some of Hollywood’s most powerful and talented filmmakers had so much trouble adapting it for the big screen. This is a movie that singles out one man for his bravery and perseverance in a war where thousands of other men were going through the exact same thing. Granted, none of those guys were Olympic athletes or survived 47 days on a raft, but you don’t really feel any more emotion for Zamperini just because he suffered more than the rest. Angelina Jolie still deserves a lot of credit for succeeding where so many failed, and the opening act – which intermixes scenes from Zamperini’s childhood and the 1936 Berlin Olympics with his pre-crash days in WWII – is really smartly handled. Jack O’Connell also turns in another star-making performance as the resolute war hero, reaffirming his status as an actor to watch, while Japanese rocker Miyavi does some good (if uneven) work as Zamperini’s sadistic tormentor. The film looks great as well thanks to some stunning cinematography by Roger Deakins, but despite its fascinating source material, “Unbroken” isn’t as powerful or inspiring as it sets out to be.

EXTRAS: In addition to a making-of featurette, there’s a profile on the real-life Louis Zamperini, a concert performance by Miyavi, some deleted scenes and more.

FINAL VERDICT: RENT

WHAT: A vengeful witch (Meryl Streep) tasks a baker (James Corden) and his wife (Emily Blunt) with collecting a series of magical items from popular fairy tale characters – including a cow as white as milk, a cape as red as blood, hair as yellow as corn, and a slipper as pure as gold – in exchange for reversing a family curse preventing them from having children.

WHY: Stephen Sondheim and James Lapine’s “Into the Woods” probably seemed like a pretty clever idea when it debuted back in 1986, but the musical doesn’t feel quite as fresh or groundbreaking in a post-“Shrek” world. Though there’s a lot of great talent on display in Rob Marshall’s big screen adaptation, many of the actors are wasted, including Meryl Streep, whose performance is so mediocre that it makes her recent Oscar nomination look like a complete joke. Johnny Depp, meanwhile, is in the film for about five minutes, despite his face being splashed across every piece of promotional material in a pathetic attempt at drumming up interest. James Corden just about holds the movie together, and youngster Lilla Crawford stands out as the brash Little Red Riding Hood, but it’s not enough, especially when the music is so unmemorable, save for one hilariously bad duet between Chris Pine and Billy Magnussen’s princes that’s fittingly titled “Agony.” “Into the Woods” is supposed to be a witty and unabashedly adult deconstruction of famous fairy tales, but that’s rarely evident in Marshall’s film. Instead, it’s a giant bore that wears out its welcome long before the torturous final act.

EXTRAS: There’s an audio commentary by director Rob Marshall, a four-part making-of featurette, interviews with the cast and crew about working on the movie, and a deleted song performed by Meryl Streep.

FINAL VERDICT: SKIP

Meryl Streep, James Corden, Emily Blunt, Anna Kendrick, Chris Pine, Daniel Huttlestone, Lilla Crawford

Rob Marshall

It is strange to watch a film like “Into the Woods” in a post-“Shrek” world. When “Into the Woods” first debuted in 1987, and turned fairy tales on their heads, it was a truly unique concept. Why should we accept that all princes and princesses have a happy ending? Why should poor children be allowed to steal without consequence? Why shouldn’t terrible parents pay for the sins they committed in the name of “protecting their children”? Those are all fair questions, and many of them have since been addressed in films like “Shrek,” “Tangled,” and “Jack the Giant Slayer,” to name a few of the characters involved here. All of these films owe a debt of gratitude to “Into the Woods,” yes, but when you take 27 years to go from the stage to the screen, all debts have been paid far in advance. We are now at the point where pop culture has passed “Into the Woods” by, stripped it for parts, and left it for dead.

The Baker (James Corden) and his wife (Emily Blunt) want a baby, but the witch who lives next door (Meryl Streep) reveals to them that she has cursed the Baker’s bloodline with impotency for a crime that his father committed. But she will undo the curse – which will then restore the witch’s beauty – if the two collect four items from previously separate fairy tales: a cow (the one Jack sells for magic beans), a red cape (yep, Little Red Riding Hood), hair as gold as corn (Rapunzel’s), and the golden slipper worn by runaway bride Cinderella (Anna Kendrick), who leaves the prince (Chris Pine) in a hurry every night of the big festival. As their lives intersect, the characters learn things about themselves. Some of the things they learn are good, while others are lessons like, if you kill a guy, be prepared to kill his vengeful wife as well. Wait, what?

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