Terry Fator is a past winner of America’s Got Talent, and one can’t help but wonder if that was simply because he had the most talents: he is a singer, songwriter, celebrity impressionist and ventriloquist. During Terry Fator: Live in Concert, a DVD release of one of his shows at The Mirage in Las Vegas, he showcases his abilities at all of the above; it’s too bad the schtick he uses these talents for is less than inspiring.

Kiss the Water is subtitled “A Love Story.” But what, exactly, is the love story at the heart of this documentary? Is it about the love that expert and renowned (at least in Scotland) fishing fly maker Megan Boyd had for her craft? Is it about the love that fishermen have for their sport and the fishing flies that aid them? Or is it about the love that documentary filmmaker Eric Steel has for lyrical, poetic filmmaking? The answer could be any or all of the above.

Last season saw Jackie (Emmy winner Edie Falco) tackling rehab for her incredible drug addiction; so what could be left for Jackie this season? Sobriety, of course. And, as the producers tease in one of the special features: consequences. Jackie is back to work at All Saints (after being fired last season) and must face backlash from her actions these past seasons while also fighting to stay sober in a world full of pills. No easy task, right? Especially when you’ve left rehab early.

I’ve always had an interest in England circa the fifteenth century. It’s likely because I am an incredibly morbid person whose attention span is easily held by a steady stream of beheadings, burnings and warfare. It also has a lot to do with how outrageous these regal characters were, what with their epic parties, international marriage contracts and accusations of witchcraft. They seem as though they could not have actually been real people--and yet history tells us otherwise. This insane juxtaposition between high drama and hard reality is what makes the books of Philippa Gregory so compelling. She takes all of the broken hearts and bones of old England and creates soapy, sexy novels that emphasize the strong female characters of the time. Her series The Cousins’ War chronicles the infamous War of the Roses, in which the Yorks and the Lancasters waged war on the battlefield and in the bedroom in order to see who would rule England. The BBC turned the books into a miniseries called The White Queen, which was broadcast on Starz last year as a kind of B-list successor to Showtime’s The Tudors. Too bad it isn’t as worthy of the throne as its predecessor.

Indie Director is an indie film about an indie director making indie movies. Except that the director (played by Bill Zebub—that can’t be his real name, can it?) makes movies that are frequently mistaken for porn. That’s an easy thing to do considering he requires women to be topless in all of his films, claiming that no matter how boring the film becomes, there will always be boobs to look at. Stepping aside (for a moment) from the implications of that, I can understand the place he’s coming from (especially when the reverse is true).

As despicable as his film-making is—he not only requires women to be in various states of undress at all time but he also verbally abuses them in the name of getting a better performance—director Bill’s goal to achieve mainstream distribution is an admirable goal. The film uses this goal to show viewers a behind-the-scenes look at how movies are made. But, if you want to learn how movies are truly made, I would not suggest watching this two and half hour mockumentary for that information (there are about 100 better ways to learn about it).

Though not a fan of Bill O’Reilly, I can appreciate his examinations of historic events (namely the deaths of some very prominent figures) as a student of history. The filmic adaptations of those examinations, however, have a definite hit or miss quality thus far. With Killing Lincoln, what could have been an interesting retelling of President Lincoln’s assassination was marred by some genuinely awful acting on the part of Jesse Johnson and production values that made it look as cheap as its “made for TV movie” origins would have you expect. With Killing Kennedy, the sins of the previous adaptation are corrected, with the film having a noticeably higher caliber of production behind it and with performances by its two leads (Rob Lowe and Will Rothhaar) easily besting those in Killing Lincoln. And while the examination of Kennedy’s assassination is incredibly shallow and doesn’t dive into any of the conspiracy theories, it’s still a solid retelling that at least touches on all the basic facts.

If you’ve never heard of the play that inspired the film, no one could blame you for having a little bit of apprehension heading into a film called Jewtopia. The film’s name alone makes you wonder if it’s going to be an incredibly offensive onslaught of anti-semitic one-liners or a comedy created by and knowingly winking at anyone who’s ever lived or observed Jewish life in America. It’s a comedy staple that’s become increasingly common over the years, with the guilt-tripping mothers, a mandatory career path of lawyer, doctor, or media mogul, and many other overly familiar stereotypes. Jewtopia plays them all up, but in a way that’s simultaneously repetitive and fresh. It doesn’t hurt that it’s one of the best performances for Joel David Moore or Ivan Sergei, or that they’re backed by Tom Arnold, Jon Lovitz, Jennifer Love Hewitt, Christine Lakin, Wendie Malick, Peter Stormare, and Jamie-Lynn Sigler.

A Perfect Man stars a shockingly fresh-faced Jeanne Tripplehorn and Liev Schreiber, but the reason for their youthful faces has nothing to do with plastic surgery, good makeup, warm lighting or soft focus (thought Joost van Gelder’s cinematography is lovely). Rather, it is because the film was shot over a decade ago, in 2000. After the budget on this indie ran dry, the film was left  to gather dust on director Kees van Oostrum’s shelf until 2013, when he screened it for a group of his film students at Drexel University and was inspired by their positive reactions to find a way to finish it. Yet after watching A Perfect Man, I don’t know what the basis of those students’ raves could possibly have been, apart from getting A's in van Oostrum’s class.

Many lower budget films are made in the hopes of finding some small audience that will appreciate it and, if they’re really lucky, possibly gain cult status and become one of those films that gets passed along and slowly gains momentum (like Rocky Horror Picture Show, Donnie Darko, or, to a lesser extent, Boondock Saints). Hellbenders 3D will never end up in that list, even though it clearly wants to be on it. It’s that desperation to be that cool horror comedy blend that knowingly winks at us while still delivering some thrills and laughs that effectively cancels out its attempts at both. A few promising bits at the start are ultimately negated by some incredibly sloppy editing and dark humor that’s hard to call “humor”, and Hellbenders never redeems itself after that. All Hellbenders really gives us is a wasted premise and 3D moments that don’t make much use of the technology.