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: Renowned linguistics professor Alice Howland (Julianne Moore) is a happily married mother of three grown children who has begun to experience problems with her memory. When she’s diagnosed with Early-Onset Alzheimer’s disease, Alice’s relationships with her family are tested as she struggles to maintain a normal life despite the worsening symptoms.

WHY: “Still Alice” is an emotionally devastating, soul-crushing movie that is bound to end in tears for anyone watching it, which makes the decision to release it on home video the week of Mother’s Day especially cruel. With that said, writers/directors Richard Glatzer and Wash Westmoreland (the former of whom recently died from his own battle with a terrible disease, ALS) do a good job of portraying the illness and the effect it has on the people around those afflicted without cheapening its real-world impact or pandering to the audience. The story also smartly avoids getting too deep into Alice’s illness too soon, allowing you to witness Alice in her natural habitat as a wife, mother and teacher, thus making her mental deterioration that much more traumatic. Based on Lisa Genova’s 2007 bestselling novel of the same name, the film is such a well-acted drama that it deserves every accolade it received during last year’s awards season. It wouldn’t be as effective without Julianne Moore in the lead role, however, and she delivers a career-best performance as the intelligent and independent matriarch forced to suffer her worst nightmare. Alec Baldwin and Kristen Stewart are also solid in supporting roles, but this is Moore’s movie from start to finish, and she commands the screen with such brutal honesty that it was never a question of if she’d win the Oscar, but why it took so long.

EXTRAS: In addition to a discussion among the cast, crew and Alzheimer’s experts about creating an accurate depiction of Alice’s disease, there’s a profile on directors Richard Glazer and Wash Westmoreland, an interview with composer Ilan Eshkeri and a few deleted scenes.

FINAL VERDICT: RENT

WHAT: After a cyberterrorist causes a meltdown at a nuclear reactor in China and makes millions on the stock market by driving up the price of soy, FBI agent Carol Barrett (Viola Davis) makes a deal with imprisoned hacker Nicholas Hathaway (Chris Hemsworth) to expunge his record in exchange for his help in stopping the malicious blackhat before the next attack.

WHY: Over the past decade, Michael Mann has come to care more about the look of his films than what they’re trying to say, and that hasn’t changed with “Blackhat.” To be fair, when the camera isn’t shaking around like it’s in the middle of an earthquake, the movie boasts some really gorgeous visuals. It’s just a shame that the story hasn’t been given the same attention. Mann tries to counteract the implausibility of Morgan Davis Foehl’s script by instilling a sense of danger with real stakes, but there’s too much working against it, including a faceless villain who isn’t very threatening and a needlessly convoluted plot that fails to validate the sluggish, 135-minute runtime. Chris Hemsworth does the best he can with such a dull, underdeveloped character (wasting his charismatic presence in the process), although Chinese actors Leehom Wang and Wei Tang fare much better in supporting roles. Perhaps the most annoying thing about “Blackhat,” however, is that it constantly brings up 9/11 as a measure of the level of terror that the hacker is capable of launching against the world, and yet the film never even considers going in that direction. This could have been a very timely thriller about cyber-terrorism, but instead, it’s just another style-over-substance misfire from Mann.

EXTRAS: There’s a trio of featurettes on the film’s production, shooting on location and the real-world threat of cyber-terrorism.

FINAL VERDICT: SKIP

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Adam Sandler, Steve Buscemi, Method Man, Melonie Diaz, Dustin Hoffman, Ellen Barkin, Lynn Cohen

Thomas McCarthy

Adam Sandler’s dramatic career hasn’t been as successful as he probably would have liked, because after earning rave reviews for his work in Paul Thomas Anderson’s “Punch-Drunk Love,” he’s failed to replicate that potential in other roles, from “Spanglish” to “Funny People.” So when it was announced that the actor would be teaming up with writer/director Thomas McCarthy for his new film, “The Cobbler,” the stage seemed set for Sandler to prove that it wasn’t just a one-off. Unfortunately, the movie is pretty awful, and though he doesn’t quite reach the same heights that he did with “Punch-Drunk Love,” Sandler isn’t the problem. Instead, it’s the tone deaf script and, to a lesser degree, McCarthy’s muddled direction, which is even more surprising coming from the co-writer of “Up” and the filmmaker behind indie gems like “The Station Agent” and “Win Win.”

Max Simkin (Sandler) is a fourth-generation cobbler who’s taken over his family’s shoe repair store in Manhattan after his father (Dustin Hoffman) abandoned Max and his mother with no explanation. When his equipment breaks one night while fixing the soles on a pair of shoes, Max heads down to the basement to use an antique stitching machine that, unbeknownst to him, has magical powers that transform him into a doppelganger of the shoes’ owner when he puts them on. (As long as that person is a size 10 ½ like Max, of course). Excited by the numerous possibilities that it offers, Max takes advantage of his newfound ability by getting revenge on a particularly rude customer (Method Man), only to get mixed up in a criminal scheme to redevelop the Lower East Side by a corrupt real estate mogul (Ellen Barkin).

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