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: When they humiliate the police department during their latest assignment, Jenko (Channing Tatum) and Schmidt (Jonah Hill) are sent back undercover, this time at a local city college to find the source of a new synthetic drug called WhyPhy. But when Jenko makes friends with the main suspect (Wyatt Russell), his relationship with Schmidt becomes strained as they split up to investigate different leads, which threatens to derail the entire mission.

WHY: For a while, it seemed like everything that Phil Lord and Christopher Miller touched turned to gold, adapting challenging source material into successful comedies with a flair for visual gags. But they haven’t had quite the same luck with sequels, as evidenced by recent films like “Cloudy with a Chance of Meatballs 2” and “22 Jump Street.” Striking the same self-mocking tone as the original, “22 Jump Street” skewers Hollywood’s formulaic sequels by openly acknowledging the rinse-and-repeat plotline and noticeably larger budget. Although it’s a clever approach that earns some laughs, it doesn’t change the fact that the film is still a complete retread from top to bottom. Lord and Miller inject the movie with the kind of silly, manic energy that’s become a touchstone in all their projects, but there aren’t enough truly laugh-out-loud moments, with many of the recurring jokes failing to hit their mark. Even when it starts to drag in the middle, however, there’s rarely a dull moment thanks to its two leads, especially Channing Tatum, who’s so funny as the dim-witted jock that he makes every scene more enjoyable. As a result, “22 Jump Street” isn’t entirely good or bad, but rather a perfectly mediocre comedy with just enough laughs to remind audiences what they loved about the first movie while failing to validate the need for a sequel.

EXTRAS: There’s a ridiculous amount of bonus material here, highlighted by 22 deleted scenes and an audio commentary by directors Phil Lord and Christopher Miller and stars Channing Tatum and Jonah Hill. Also included are four production featurettes, a collection of cast improvisations, Line-O-Ramas for five different scenes, a “Dramatic Interpretation” of the film and much more.

FINAL VERDICT: RENT

WHAT: An anthology of intersecting stories set in Sin City. Private detective Dwight (Josh Brolin) is tricked into helping out his dangerous former lover (Eva Green); a young drifter (Joseph Gordon Levitt) faces the consequences of beating Senator Roark (Powers Boothe) at the poker table; and stripper Nancy (Jessica Alba) plots her revenge against the man responsible for the death of John Hartigan (Bruce Willis).

WHY: Robert Rodriguez has been talking about a “Sin City” sequel since the first film hit theaters, so what took so long for the prolific director to finally deliver on his promise? Your guess is as good as mine, especially when he wasted that time making garbage like “Shorts,” “Spy Kids 4” and two “Machete” movies. A lot has changed in those nine years, and whereas the original was pretty groundbreaking both visually and technically, the long-awaited follow-up feels stale in comparison. Though only two of the four stories featured are from Frank Miller’s graphic novels – the titular centerpiece “A Dame to Kill For” and the Marv-centric prelude “Just Another Saturday Night” – the best of the bunch (featuring Joseph Gordon-Levitt’s perpetually lucky gambler) is an original story written by Miller for the movie. Unfortunately, the other new segment is hands-down the weakest entry from either film, not only because Jessica Alba’s stripper is a complete bore, but because it makes a huge mess of the overarching continuity. In fact, the sequel as a whole isn’t nearly as captivating as its predecessor, and although it’s great to see Mickey Rourke reprise his role as the unstoppable brute Marv, “Sin City: A Dame to Kill For” lacks the wonder and excitement of experiencing something for the first time.

EXTRAS: The Blu-ray release includes a high-speed green screen version of the movie that lasts about 15 minutes, featurettes on the stunts and make-up effects, and some character profiles.

FINAL VERDICT: RENT

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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 she wrecks her car, is fired from her job and discovers that her husband has been cheating with their neighbor, all in the same day, Tammy (Melissa McCarthy) is desperate to leave town as quickly as possible, and her alcoholic grandmother Pearl (Susan Sarandon) – who has the two things Tammy needs most: a working car and some cash – decides to tag along. But when they end up driving the wrong way, the two women decide to make the most of the mishap in an attempt to patch up their troubled past.

WHY: Like pretty much anything that Melissa McCarthy does these days, your enjoyment of “Tammy” will depend entirely on how you feel about the actress as a performer, because for those who were already sick of her tedious, one-trick pony act after “Bridesmaids,” sitting through McCarthy’s latest movie is about as pleasant as a punch to the face. It’s bad enough that Tammy never shuts up, but director/co-writer Ben Falcone wants the audience to sympathize with her as well, even though she’s largely to blame for much of what happens over the course of the film. She’s not as mean-spirited as Diana from “Identity Thief,” nor as vulgar as Shannon from “The Heat,” but she’s not someone you’d necessarily want to be friends with either. So when the movie suddenly tries to manufacture a romance between Tammy and Mark Duplass’ nice-guy farmer in the final act, it doesn’t just feel unearned, but completely unrealistic considering he had zero interest in her only a few days prior. That initial meeting takes place shortly after an exceedingly confident Tammy brags about how men are attracted to her like “flies on shit,” and in that instant, McCarthy provides the perfect ammunition to describe her recent career, because that’s what this movie is – a big, steaming pile of shit.

EXTRAS: In addition to a short featurette about a family road trip that Melissa McCarthy and director Ben Falcone took following production on the film, there are four deleted scenes, some alternate takes and a gag reel.

FINAL VERDICT: SKIP

WHAT: The story of Frankie Valli (John Lloyd Young) and the Four Seasons, from their early days as two-bit gangsters in New Jersey, to their rise to fame thanks to hits such as “Sherry,” “Big Girls Don’t Cry” and “Walk Like a Man.”

WHY: Clint Eastwood is one of the last people you’d expect to direct a film adaptation of “Jersey Boys” – or any stage musical, for that matter – and it definitely shows, because it’s one of the worst stage-to-film adaptations in recent memory. In fact, the movie isn’t really a musical at all (save for the end medley/production number), instead going for more of a rockumentary feel that doesn’t translate very well to the screen. The main problem is that with the exception of the great catalog of songs, the film isn’t terribly interesting, barely scratching the surface with its “Behind the Music”-esque narrative. It’s rife with all the usual melodrama of a music biopic, but the characters are never fully developed, despite the fact that the film’s bloated 134 minute runtime gives plenty of opportunities to do just that. Vincent Piazza (as group member Tommy DeVito) and Christopher Walken (as Jersey mobster Gyp DeCarlo) both shine in supporting roles, but the rest of the acting is mediocre at best, particularly theater vets John Lloyd Young and Michael Lomenda. Eastwood was clearly having a senior moment when he agreed to do “Jersey Boys,” because not only is it one of the weakest movies in his oeuvre, but it fails to showcase why the Broadway production was such a huge hit.

EXTRAS: There are three featurettes in total, covering the movie’s journey from Broadway to the big screen, actor Donnie Kehr’s experience working with Christopher Walken, and filming the grand finale.

FINAL VERDICT: SKIP

WHAT: After agreeing to serve as the temporary Director of Medicine in the Extended Care Unit at Mount Palms Hospital, Dr. Jenna James (Laurie Metcalf) is disheartened when the assignment is made permanent, relegated to work in the soul-crushing facility alongside new supervising nurse Patsy De La Serda (Mel Rodriguez), head nurse Dawn Forchette (Alex Borstein) and rookie nurse Denise “DiDi” Ortley (Niecy Nash).

WHY: Though it flew pretty far under the radar during its first season, this U.S. remake of the BBC series of the same name is one of the more underrated shows in HBO’s lineup. Every bit as much a satire as it is a drearily honest and sobering look at our country’s broken healthcare system, “Getting On” makes the typical black comedy seem lighthearted in comparison. Though the humor on the show can be a little too dry at times, and some of the in-jokes are only funny if you’ve worked in a hospital setting before, it features sharp writing and excellent performances from its cast. Laurie Metcalf, Alex Bornstein and Niecy Nash all deliver great work in their respective roles, while the guest stars (including Molly Shannon, Daniel Stern and a potty-mouthed June Squibb) provide many of the best moments. The only weak link is Mel Rodriguez’s sexually ambiguous Patsy De La Serda, whose character is so annoying (even if that’s kind of the point) that the show becomes infinitely less entertaining whenever he appears on screen. That’s not the only area where “Getting On” could improve, but although it’s not quite the hidden gem that it could have been for HBO, it’s definitely worth checking out for fans of likeminded comedies like “Derek.”

EXTRAS: The Blu-ray release includes some deleted scenes and a gag reel.

FINAL VERDICT: RENT

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: Following an exclusive report on a top-secret U.S. drone strike that turns out to be untrue, the “News Night” staff becomes embroiled in a legal battle when the producer responsible for the story sues the network for wrongful termination. Meanwhile, Jim (John Gallagher Jr.) goes on the campaign trail with the Romney press bus and Maggie (Alison Pill) deals with the aftermath of a traumatic trip to Uganda.

WHY: Some people really love to hate “The Newsroom,” and for the life of me, I don’t understand why. Though the show can be a tad exaggerated at times (both dramatically and comically), it has great characters and the kind of clever, rapid-fire dialogue that’s become synonymous with every Aaron Sorkin production. Season Two isn’t as strong as its debut season – due to the more focused, season-long drone storyline and certain subplots that remove key characters from the very environment they thrive best – but with the exception of the new title sequence, it’s the same old “The Newsroom,” particularly when taking on real-life topics like the 2012 Elections, Occupy Wall Street and Trayvon Martin. Sorkin’s writing dazzles as always, but it’s the performances by the ensemble cast (from stars Jeff Daniels and Emily Mortimer, to supporting players like Sam Waterson, Olivia Munn, Dev Patel and Thomas Sadoski) that makes it such a joy to watch. It’s a shame that more people didn’t feel the same way, because although the series is returning for a shortened third season, it still feels like a loss, especially with so few great shows left on HBO outside of “Game of Thrones.”

EXTRAS: The Blu-ray set includes four audio commentaries with various cast and crew, the usual collection of “Inside the Episode” featurettes and deleted scenes.

FINAL VERDICT: BUY

WHAT: After enduring his legendary 12 labors, Hercules (Dwayne Johnson) and his band of mercenaries are hired by the King of Thrace (John Hurt) to protect his people from a tyrannical warlord, only to discover that he may be fighting on the wrong side.

WHY: It’s actually quite surprising that someone hasn’t tried making a Hercules movie with Dwayne Johnson sooner, because it’s a role that he was born to play. But while the film is marginally better than Renny Harlin’s “The Legend of Hercules,” it’s rooted even less in the original myth, instead using Steve Moore’s comic book series as its inspiration, which suggests that Hercules wasn’t a demigod at all, but rather a mortal man whose legend far exceeds his abilities. Johnson does a good job in the title role, though he doesn’t have a lot to work with, and Ian McShane and Rufus Sewell (as fellow swords-for-hire) add some color to the otherwise drab story, but there’s nothing really special that sets it apart from the many other sword-and-sandal movies. The action sequences are incredibly generic, the twists aren’t surprising at all, and although the story offers a unique interpretation of the Hercules tale, it’s hard not to feel disappointed by the bait-and-switch approach to the material. After all, would you rather see a movie about the Hercules from Greek mythology, or one about an ordinary guy named Hercules who just happens to be stronger than most? Exactly.

EXTRAS: In addition to an audio commentary by director Brett Ratner and producer Beau Flynn, there’s an introduction to the film from Ratner and Dwayne Johnson, featurettes on the characters, weapons and specials effects, a behind-the-scenes look at filming one of the major actions sequences and 15 deleted/extended scenes.

FINAL VERDICT: SKIP

WHAT: When she’s tricked by her human friend, Stefan (Sharlto Copley) – who steals her wings in exchange for a place on the throne – vengeful fairy Maleficent (Angelina Jolie) curses the king’s newborn daughter with a spell that will take effect on her 16th birthday. Sent away to a remote cabin for her protection, Maleficent comes to care for Princess Aurora (played as a teen by Elle Fanning) after realizing that she may be the land’s only hope for peace.

WHY: Hollywood loves a good fad, and two of the more popular trends these days are fairy tales and villains, so it’s not surprising that Disney would want in on the act, especially after the mild success of Universal’s “Snow White and the Huntsman.” Just like that movie, “Maleficent” attempts to humanize its iconic baddie by turning her into a misunderstood antihero whose fall from grace wasn’t entirely of her own making. But just like every other cinematic villain to get the revisionist treatment (from Dracula to the Evil Queen), Maleficent is stripped of everything that made her such a great character in the process, and perhaps even more troubling, as the victim of a creepy drug rape that’s never addressed. Angelina Jolie has the physicality and talent required for the role, but while she does a good job with the material provided, it would’ve been more fun to see her play a full-fledged villain compared to the morally gray character here. Though “Maleficent” is an admirable attempt at breathing new life into a classic tale, there are so many problems with the story and supporting characters that it would have made more sense to go the direct route and make a live-action “Sleeping Beauty” movie instead.

EXTRAS: There are five short featurettes – including a look at Elle Fanning’s involvement in the film, Maleficent’s costume design and the various stages of the writing process – as well as a handful of deleted scenes.

FINAL VERDICT: SKIP

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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: Aidan Bloom (Zach Braff) is a struggling actor whose wife (Kate Hudson) is the sole breadwinner of the family, so when his father (Mandy Pantinkin) becomes sick and is no longer able to pay the children’s private school tuition, Aidan agrees to homeschool the kids (Joey King and Pierce Gagnon). The problem is that Aidan has no idea what he’s doing, so instead, he takes them on a series of “field trips” meant to impart life lessons that help him rediscover his own identity in the process.

WHY: Hating Zach Braff was in fashion long before the actor/director launched a Kickstarter campaign for his long-awaited sophomore effort, but the way he went about funding his follow-up to “Garden State” really got under some people’s skin. While Braff may have been unfairly judged for the way he raised the money to make the film, it’s a wonder why he had to resort to crowdsourcing at all, because “Wish I Was Here” is a confident, funny and heartfelt tragicomedy that proves Braff is more than just a one-hit wonder. The “Scrubs” star does a solid job in the lead role, and Mandy Pantinkin and Joey King both deliver great supporting work, but it’s Kate Hudson who is the movie’s most pleasant surprise, turning in her finest performance since “Almost Famous.” The script is nothing special, even bordering on schmaltzy at times, but there’s an honesty to the material (especially the father-son relationship) that certain people will connect to more than others. “Wish I Was Here” is a much more grown-up film than “Garden State,” exploring a range of themes like morality, sacrifice, family and fatherhood, and although some might be handled in a slightly pandering manner, there’s an innate sweetness to the movie that compensates for its lack of subtlety.

EXTRAS: The Blu-ray release includes two audio commentaries (one with co-writer/director/star Zach Braff and co-writer Adam Braff, and another with Zach Braff, director of photography Lawrence Sher and editor Myron Kerstein), as well as some deleted scenes, outtakes and a short behind-the-scenes featurette.

FINAL VERDICT: RENT

WHAT: After being fired from the record label he helped found, music producer Dan Mulligan (Mark Ruffalo), stumbles into an open mic and discovers what he believes to be a hidden gem in British singer-songwriter named Greta (Keira Knightley). Determined to share her indisputable talent with the rest of the world, Dan convinces Greta to record an album with a live band in different locations across New York City in the hope that he can persuade his former business partner (Mos Def) to sign Greta to their label and rescue his job.

WHY: It’s incredible what can be achieved when you combine music with film, and John Carney exploited that perfect pairing with his musical drama “Once.” Eight years have passed since the small indie’s Cinderella story at the Academy Awards, and in that time, the Irish-born director made a couple movies in his native country that flopped. So while it may seem a tad desperate of Carney to mark his Hollywood debut with another music-driven relationship drama, he’s just playing to his strengths. The overall theme of “Begin Again” is certainly very familiar – like “Once,” it’s less about two people falling in love with each other than the music they make together – but the film is a decidedly more lighthearted affair. With that said, the soundtrack is just as good, featuring an infectious array of bluesy folk-pop songs performed by a surprisingly capable Keira Knightley. For as much as the movie depends on the music, however, it’s just as reliant on its two stars, who form such a delightful chemistry that it’s hard not to get caught up in their fairy tale. “Begin Again” doesn’t have the same magic of “Once,” but it’s a sweet crowd-pleaser highlighted by a pair of great performances and some catchy tunes.

EXTRAS: There’s a pretty decent making-of featurette and four music videos featuring songs from the film.

FINAL VERDICT: RENT

WHAT: New York police officer Ralph Sarchie (Eric Bana) investigates a series of connected incidents involving a trio of Iraq War veterans. Though Sarchie initially believes that the men have gone crazy as a result of PTSD, he discovers that they may actually be demonically possessed when he teams up with an unconventional priest (Edgar Ramirez) who specializes in exorcisms.

WHY: Here’s hoping that no one at Marvel Studios saw Scott Derrickson’s “Deliver Us from Evil,” because it hardly inspires confidence in his ability to tackle a project as challenging as “Doctor Strange.” Though this isn’t the first time that Derrickson has directed a movie about demonic possessions (“The Exorcism of Emily Rose”), he doesn’t really bring anything new to the table apart from the decision to blend supernatural horror with a police procedural. Unfortunately, it’s not very scary or suspenseful, but actually quite boring due to a sluggish two-hour runtime that’s about 30 minutes too long. There’s no need for all the setup, especially when the two leads don’t even join forces until the hour mark. Even more grating, however, is the suggestion that any of this actually happened. The movie is reportedly based on the accounts of the real-life Sarchie, but like most exorcism stories, all of the supernatural events occurred either in his head or while he was alone. In other words, he’s just like every other nut job who believes in this stuff, only he wrote a book about it. Of course, even the most successful exorcism films (like “The Exorcist” and “The Conjuring”) are steeped in bullshit, but unlike “Deliver Us from Evil,” they found a way to be effective pieces of horror regardless of your beliefs.

EXTRAS: In addition to an audio commentary by writer/director Scott Derrickson, there are featurettes on the real-life Ralph Sarchie, the makeup effects designed for Sean Harris’ character and a behind-the-scenes look at making the film.

FINAL VERDICT: SKIP

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: The year is 2031 AD, and after a failed global-warming experiment has frozen the planet, killing off nearly all life in the process, the lucky few survivors live aboard the Snowpiercer, a train that perpetually travels around the globe. With a class system in place that divides the population by train car, lower-class passenger Curtis (Chris Evans) leads a rebellion against the oppressors in an attempt to take control of the engine and the fates of his fellow people.

WHY: Fans of Korean director Bong Joon-ho (“The Host”) have been awaiting his English-language debut for quite some time, and that wait was extended even longer when The Weinstein Company delayed its U.S. release over a dispute about the film’s original cut. In the end, Bong was successful in protecting his vision, which is a major victory for both the filmmaker and his would-be audience, especially for a movie as refreshingly unique as “Snowpiercer.” Though it’s not the sci-fi masterpiece that many have lauded it as, the film is one of the better post-apocalyptic thrillers in recent memory. A lot of that credit actually goes to the creators of the French graphic novel on which its based, but Bong brings plenty to the table as well, including some gorgeous visuals and the casting of frequent collaborator Song Kang-ho in a vital role. Chris Evans also turns in a solid performance as the de facto leader of the lower class rebels, while Tilda Swinton steals the show with an amusingly quirky turn as the right-hand woman of the train’s mysterious engineer. The blending of art house sensibilities with mainstream appeal makes for a really intriguing finished product, but the ending is so disappointing that it undermines the ambition and imagination of everything that precedes it.

EXTRAS: The Blu-ray release includes an audio commentary by film critics like Scott Weinberg, James Rocchi and Jen Yamato, a documentary about the making of the movie, additional featurettes on the production process, an interview with Chris Evans and Tilda Swinton, a behind-the-scenes look at the promotional tour, concept art galleries and an animated prologue.

FINAL VERDICT: RENT

WHAT: Desperate to add a little spice back into their life, married couple Jay (Jason Segel) and Annie (Cameron Diaz) decide to make a sex tape trying out every position from “The Joy of Sex.” But when they wake up the next day to discover that the video was accidentally uploaded to the iPads that Jay gifted to various family and friends, they go on a frantic search to track them all down before anyone has a chance to see it.

WHY: “Sex Tape” is an infuriating movie to watch, especially if you don’t like characters that have no common sense. Despite being one giant commercial for the iPad (at one point, Segel’s character even declares how well constructed it is), it doesn’t understand the technology behind the device. Anyone with a basic knowledge of smartphones, tablets and the Cloud knows that Jay’s videos wouldn’t automatically sync to the other iPads unless they were still connected to his Apple account, but there’s absolutely no reason the recipients would do this, because it would essentially render their devices useless. Worse yet, the identity of the mysterious “villain” blackmailing Jay and Annie is an absolute joke, threatening them with putting the video on a popular internet porn site unless they pay a hefty bounty. Jay could just call the website and have them take it down, but they chose a much more excessive method because it seems funnier, even though it’s really not. Cameron Diaz and Jason Segel fail to display a fraction of the chemistry that they had in “Bad Teacher,” and although there are some amusing comments on parenthood in the opening act, once the hunt for the sex tape kicks into gear, the film nosedives quicker than a kamikaze fighter pilot.

EXTRAS: In addition to a selection of deleted scenes, alternate takes and bloopers, there’s a featurette on the chemistry between director Jake Kasdan and his two leads, as well as a discussion with psychotherapist Dr. Jenn Berman about the film.

FINAL VERDICT: SKIP

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