Luc Besson captured my attention with Léon the Professional in 1994 and since then, I’ve wanted to love everything he’s done, but the man is incredibly inconsistent so it’s as if every other film is worth a look. However, he hasn’t really scored since 2014’s Lucy. Valerian and the City of a Thousand Planets was a pretty misfire and now we have Anna.

The film, out now on disc from Lionsgate Home Entertainment, is another in a long line of admirable female empowerment tales. His French action-thriller has its moments, and a (literally) cheeky performance by Helen Mirren, but has a low-budget look and feel that never goes beyond the surface so every single character feels one-dimensional.

We are introduced to the latest find, Sasha Luss, a willowy blonde who can kick ass but pales in comparison to the far superior Atomic Blonde. At first, she is a down on her luck girlfriend to a drug dealing moron, but then gets recruited to work for Russian Intelligence, where she is trained to deadly perfection by Alex Tchenkov (Luke Evans), who then convinces KGB chief (or something, its unclear) Olga (Mirren) to take and use his new weapon.

Where the film succeeds best is its frequent time-bending storytelling so you only think you know what’s going on before they rewind and fill in some vital gaps. As a result, the story evolves and can intrigue you, but its utter vapidity and absurdness, staggers the imagination. Olga sends her into the field for a test with an unloaded gun and then we have the first of several high-octane set pieces that are too broad and comical to be taken seriously.

Along the way, she wearies of the life, and preferring to stay in at home with her model girlfriend Maud (Lera Abova) or find a way out of her career as a killer, undercover as a fashion model. She crosses paths with CIA officer Leonard Miller (Cillian Murphy) and he may offer her a ticket to paradise. Or not.

There’s a drabness to the photography, adding to a somber look with just flashes of color, usually Anna in various states of dress or undress. With the characters incredibly underwritten, a solid cast is given little to do except go through the paces and tick off the check marks. The action is either okay or over-the-top, unremarkable all around.

Such a weak state of affairs may explain is worldwide bomb at the box office, grossing under $30 million after a summer in theaters.

The film was released in an assortment of formats including Blu-ray, DVD, and Digital HD. Shot digitally, the native 2K high definition transfer is perfectly fine if as unexceptional as the film itself. The Dolby Atmos soundtrack is up to the task for every punch and tire squeal.

There are a handful of average special features including Dressing a Doll: The Costumes of Anna (8:06); Anatomy of a Scene: The Restaurant Fight (6:41); Unnesting a Russian Doll: Making Anna (13:57); and Constructing the Car Chase (5:40).

The zombie fad appears to be in its final days given the trickle of new novels, movies, and television shows. Another sure sign of its impending end is the arrival of satire, this time in the form of The Dead Don’t Die, a atar-studded comedy that shambled on and off the screen before you noticed it.

The film, out on disc now from Lionsgate Home Entertainment, should have been a laugh riot, a brilliant takedown of the genre., At least, that was the expectation that came with the pedigree: Writer/Director Jim Jarmusch, Bill Murray, Adam Driver, Chloë Sevigny, Tilda Swinton, Steve Buscemi, Danny Glover, Rosie Perez, Carol Kane, and yes, both Iggy Pop and Tom Waits.

Set in a small town in west Pennsylvania, clearly an homage to the godfather of zombie films George A. Romero, the film starts off well enough but by the midpoint, shifts from comedy to action/comedy and loses its footing, decayed bits falling off with a thud.

While local farmers begin noting oddities, we’re told that Earth has shifted its rotational axis resulting in the birth of zombies, out for living flesh to consume. The battle for survival sets the stage for hilarity to commence. We certainly chuckle here and there, but Jarmusch never fully commits to poking fun at the zuvembi, not like the Zuckers did with the airplane disaster genre, and we the audience are all the worse for it.

We’re treated instead to chuckles, the occasional guffaw, and then loses itself and never recovers, leaving you deeply disappointed and dismayed. There should have been a lot more social satire interwoven with the genre spoof, but everyone plays it cautiously.

The film is out in the usual formats including a fine Blu-ray and Digital HD combo. The 1080p high definition transfer works just fine although not perfectly, much like the film itself.  The same can be said for the DTS-HD Master Audio 5.1 lossless soundtrack. Together, they make for a satisfactory home viewing experience.

The assortment of special features proves, perhaps, more disappointing than the film itself, since they are all very short, avoiding any depth, analysis, or background for the curious. We have  Bill Murray: Zombie Hunting Action Star (1:21); Stick Together (2:47) where the cast praise their director; Behind the Scenes of The Dead Don’t Die: six-parts — Zombie Tai Chi (0:55), Growl Practice (0:18), A Spin Around the Set (0:32), Craft Services (1:00), Undead Symphony (2:16), and, Finger Food (0:22).