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Visions Home Video (VHV) releases the 25th Anniversary home entertainment release of Dogma, launching with the premium UHD and Blu-ray release of Kevin Smith’s 4K remaster of DOGMA on 2nd February 2026.
And to celebrate we have a copy on 4K UHD to give away!
Synopsis:
DOGMA, the cult classic that disappeared on the physical market for almost two decades due to rights issues between director Smith and The Weinstein Company, follows the story of two banished angels (Ben Affleck & Matt Damon) who seek to exploit a theological loophole and return to Heaven, thereby inadvertently nullifying all of existence. Tasked with stopping them is a heavenly host that includes the last scion of Christ, a pair of prophets, a forgotten Apostle (Chris Rock), a muse (Salma Hayek), and the voice of God (Alan Rickman).
DOGMA’s theatrical re-release this past year earned an impressive global box office total of over $2.2 million and counting.
3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.
4. Winners will be chosen randomly and will be informed via email.
5. Entries that come directly from other websites will not be accepted.
Dazzler Media presents Frontier Crucible on 4K Ultra HD, Blu-ray, DVD and Digital platforms from 2nd February
And to celebrate we have a copy on Blu-ray to give away!
Synopsis:
From the producer of Bone Tomahawk comes a gritty, uncompromising new thriller set in the wild, untamed west…
On the frontier of the Arizona Territory in 1874, a desperately needed wagon full of medical supplies falls victim to an Apache attack. The only man who can guide it through to its destination is Merrick Beckford, but in order to get there he’ll need to enlist the help of a trio of dangerous outlaws hell-bent on survival. When they accidentally kill an Apache scout, all bets are off and survival is the name of the game.
Frontier Crucible is a gripping, tense and unflinching new western with a breakout lead performance from Myles Clohessy, also starring Armie Hammer, Mary Stickley, Ryan Masson, William H. Macy and Thomas Jane. From director Travis Mills, the film is based on the 1961 novel Desert Stake-Out by Harry Whittington.
3. When the competition ends as indicated on this page, any and all entries received after this point will not count and emails blacklisted due to not checking this page first.
4. Winners will be chosen randomly and will be informed via email.
5. Entries that come directly from other websites will not be accepted.
Bryan Fuller's Dust Bunny arrives as an oddity and a welcome one. This is a fantasy action film that looks like nothing else in the current studio landscape and feels deeply personal for a feature debut. Fuller leans into mood, fairytale logic and emotional instinct rather than tidy explanations, which gives the film a strange, haunting pull even when it stumbles.
The story centres on Resident 5B, a weary hit man played by Mads Mikkelsen, who is approached by eight-year-old Aurora (Sophie Sloan) after her family is brutally killed. She believes a monster under her bed ate them (A literal bunny made out of dust). He suspects something more human and far more dangerous. What follows is a collision between assassin thriller, childhood fantasy and horror, set largely inside a New York apartment building that feels both mundane and cursed.
Visually, the film is often striking. Fuller has a good eye for colour, shadow and offbeat imagery, and the early Chinatown sequence involving a dragon costume hiding armed gang members sets the tone beautifully. There is a confidence here in letting atmosphere do the heavy lifting. Scenes breathe. Silence is allowed. The film trusts the audience to keep up emotionally, even if the logic occasionally slips.
Mikkelsen is excellent. He brings his usual physical authority and sense of danger, but also a surprising gentleness. Watching him shift from bone crunching violence to quiet, protective warmth with Aurora is the film's emotional backbone. Sophie Sloan is equally impressive, carrying a role that asks her to balance vulnerability, conviction and something eerily knowing. Their relationship gives the film its heart. Sigourney Weaver's Laverne adds a sharper edge, and her presence lends weight to the film's darker turns.
Where Dust Bunny falters is in its pacing. Despite a runtime of around 100 minutes, the middle section drags as the narrative loops around similar beats. The escalation into larger action and mythic horror is effective in intent, but not always in execution. Some of the CGI, particularly involving the monster itself, is uneven and occasionally breaks the spell just when the film needs to hold it tight.
The horror elements are also more brutal than expected. There are moments that verge on savage, which firmly rule this out for younger viewers despite its child protagonist and fairytale framing. This tonal clash will work for some and alienate others, depending on tolerance for sudden violence.
Still, the ending lands with real power. Fuller closes on a note of hope rather than fear, suggesting that love and care are the only real defences against the monsters we create or inherit.
Dust Bunny is not a perfect film. It has a strong opening, a slower middle and a striking, confident finale. But originality counts for a great deal, and this is a wholly original piece of fantasy horror anchored by strong performances and a clear emotional core. For mid teens and adults willing to embrace its odd rhythms and rough edges, it is a memorable experience.
I enjoyed Dust Bunny and would give it a solid 8 out of 10. With tighter pacing and more polished effects, it could have been even better.
There is a brash confidence to The Wrecking Crew that feels almost old fashioned in the best way. This is a loud, violent, self aware buddy cop action comedy that knows exactly which buttons it wants to press and hammers them with real enthusiasm. Directed by Ángel Manuel Soto, the film throws subtlety out of the window early on and commits fully to being a crowd pleasing blast of bruising action, broad humour and clashing personalities.
The story centres on estranged half brothers Jonny Hale and James Hale. Jonny, played by Jason Momoa, is a loose cannon cop working on a reservation in Oklahoma. James, played by Dave Bautista, is a disciplined Navy SEAL living in Hawaii. Their uneasy reunion is triggered by the death of their father Walter, a private investigator whose supposed hit and run quickly proves to be something far more sinister once Yakuza enforcers start turning up uninvited. From there, the brothers return to Hawaii for the funeral and begin pulling at threads that reveal a conspiracy with personal stakes and long buried family resentments.
What really sells the film is the chemistry between Momoa and Bautista. The contrast is familiar but effective. Momoa leans into the chaotic charm of Jonny, delivering most of the film's funniest lines and clearly enjoying himself. Bautista plays James as the tightly wound straight man, all discipline and suppressed frustration. When the two are sharing the screen, the film finally hits its stride. Their bickering, mismatched methods and grudging respect give the action real momentum, recalling the spirit of Lethal Weapon without pretending to reinvent that wheel.
The supporting cast helps keep things lively. Stephen Root is on solid form as Detective Rennert, the perpetually exasperated superior who knows he has lost control of the situation. Jacob Batalon's Pika, Walter's assistant, grows into a surprisingly effective sidekick with several strong comedic moments. Frankie Adams and Maia Kealoha do their best to ground the family drama as cousin Haunani and James' wife Lani, while Temuera Morrison brings an easy authority as the Governor of Hawaii and a trusted family friend.
And a special mention to Morena Baccarin as Valentina, the other half of Jonny Hale.
Soto makes excellent use of the Hawaiian setting. The cinematography gives the film a bright, sun drenched look that contrasts nicely with its violent streak. Explosive set pieces are staged with clarity and energy, and the action rarely feels sluggish. When the film is firing on all cylinders, it becomes a relentless ride that barely pauses for breath.
That said, the cracks are hard to ignore. At two hours, The Wrecking Crew feels a little too long for what it is trying to do. The script is deeply formulaic and rarely surprising, hitting familiar beats almost on schedule. For an action comedy, some of the strongest jokes are spaced too far apart, and the humour does not always land with the consistency it should. It is also a missed opportunity that Bautista is not given more genuinely funny material, as his comic timing has proven strong elsewhere.
Despite those flaws, the film's sheer energy carries it a long way. It embraces its own excess, leans into its central pairing, and delivers exactly the kind of noisy, unapologetic entertainment it promises. The Wrecking Crew might not be particularly original, but it scratches a very specific itch within the buddy cop genre and does so with style.
The Wrecking Crew is a fun, if slightly overlong action comedy with some strong fight scenes, striking use of its Hawaiian backdrop, and a dependable supporting cast. It does not break new ground, but it does remind you why this formula worked so well in the first place.
Set against the gaslit streets of Victorian London, Leviathan is a short film that plunges straight into the heart of the Autumn of Terror. Running at a tight 18 minutes, it revisits 1888 as the Whitechapel murders continue to devastate the East End and leave the city paralysed with fear.
At the centre of the story is a young Dr Conan Doyle, drawn into the hunt for Jack the Ripper and challenged to apply the methods of his own fictional creation, Sherlock Holmes, to a very real nightmare. He is joined by Professor Joseph Bell, the real life inspiration behind Holmes, and Margaret Harkness, a determined journalist driven by a need to expose the truth. Together, this uneasy alliance must overcome personal differences as they attempt to unmask the figure haunting the fog bound streets.
The film presents London as a city on edge, cowering as a monstrous presence stalks the night. Leviathan leans into atmosphere and character, framing the investigation as much around intellect and observation as it is around dread and urgency. The familiar mythology of the Ripper is filtered through the perspective of those trying to impose reason on chaos.
Based on the novel A Knife in the Fog by Bradley Harper, Leviathan is directed by James Mansell and written by Harper himself. The cast includes Lauren Cornelius, known for Gavin and Stacey and Call the Midwife, alongside Rafe Bird from Ripper's Revenge and Matthew Lloyd Davies of The Madness of King George. Together, they bring historical figures and tensions to life in a concise but focused retelling of one of London's darkest chapters.
Leviathan promises a compact, atmospheric take on a well known mystery, blending history, fiction and the origins of a legendary detective into a single nightmarish pursuit.
