Liam Neeson and Jacob Perez star in "The Marksman."
Liam Neeson and Jacob Perez star in "The Marksman."

The Marksman (Universal, Blu-ray or DVD, PG-13, 108 min.). For a film called “The Marksman,” there is remarkable very little shooting until the final 10 or so minutes. In the film, directed and co-written by Robert Lorenz (“Trouble with the Curve”), Neeson continues his second-half-of-career action-hero mode, only at a much slower pace, a pace so slow, in fact, that it makes the film mediocre. There really is not too much wrong with the film, but neither is there too much that is right.

Neeson plays ex-Marine and decorated Vietnam veteran Jim Hanson, a rancher in Naco, Arizona, whose land is near the border with Mexico, so he sees a lot of illegal immigrants crossing and reports them to the U.S. Border Patrol, one of whose agents is his stepdaughter (Katheryn Winnick of TV’s “Vikings” as Sarah). Hanson’s wife had died of cancer a year earlier and her medical bills have just now led to the bank foreclosing on his ranch.

One day, Hanson comes across a woman (Teresa Ruiz as Rosa) and her young son (Jacob Perez of “Papa Bear” as Miguel), who are trying to flee Mexico and the Vasquez Cartel’s men, as her brother had crossed the cartel and taken some of its money – which Rosa carries with her. Hanson calls the Border Patrol, but three cartel guys, led by Mauricio Guerrera (Juan Pablo Raba of TV’s “Agents of S.H.I.E.L.D.”), show up and start shooting. Hanson kills Mauricio’s brother, but Rosa is fatally wounded. Before she dies, she asks Hanson to take her son to her cousin in Chicago.

Hanson has no intention of going to Chicago, until he sees Guerrera and three cohorts waiting to cross the border and realizes Miguel’s life is in danger. Thus, he sneaks Miguel out of the Border Patrol facility and they head off on a road trip, accompanied by Hanson’s dog Jackson, but not knowing that the very well-equipped cartel is able to track Hanson’s credit card usage. The stereotypical cartel bad guys, of course, do a bit of mayhem and murder during the chase, most of which is totally unnecessary.

The script, also co-written by Chris Charles and Danny Kravitz, suffers from some inconsistencies, as well as dullness. One big question is how Hanson can live next to the Mexican border for years and only know a handful of Spanish words. Then there is the restaurant scene in which they order food and Miguel immediately goes to the bathroom. When he emerges, he finds Hanson asleep in his vehicle. Where did the food go? How long was that bathroom visit? Then there is what happens to the cartel’s money. Another thing that makes no sense.

The outdoor scenery – especially at the ranch -- is pretty; Mark Patten is the cinematographer. Director Lorenz has produced several Clint Eastwood movies during the past 20 years, including “Million Dollar Baby” and “Gran Torino,” so there definitely is a bit of Eastwood’s cranky old man on a mission vibe to the film, although Hanson is not nearly as cranky.

The only extra is a brief look at the making of the film (8:19). Grade: film 2.5 stars; extra ½ star

Rating guide: 5 stars = classic; 4 stars = excellent; 3 stars = good; 2 stars = fair; dog = skip it

Land (Universal, Blu-ray or DVD, PG-13, 89 min.). This is the feature directorial debut for star Robin Wright (“Forrest Gump,” “The Princess Bride,” the two “Wonder Woman” films), who also served as an executive producer. For most of the film, she acts alone or with just one other person. In addition to fine acting and an interesting story, the film was shot in a remote area of Calgary, capturing some beautiful landscape. The film is about isolation and how, just maybe, another caring person may help remove its sting.

We first meet Edee Holzer (Wright) in a session with a psychologist after a tragedy that literally has become unspeakable for Edee. Rather than trying to share what happened or continue with normal life, Edee decides to abandon everyday life. She moves to a remote cabin in Wyoming that includes hunting land and is next to Shoshone tribal lands – it apparently was owned by her late father – intending to live off the land. She brings no cell phone with her and she has her rental car and U-Haul sent back to the city. Leaving her only a very long walk if she ever wanted to get back to civilization.

The main problem is that Edee is not very good at living off the land and nearly dies, until she is found by a passing hunter, who saw her chimney smoke on his way out to hunting and then saw no smoke on his way back. That hunter is Miguel (Damian Bichir of “The Hateful Eight,” “Machete Kills,” “The Nun”), who has brought along a local nurse (Sarah Dawn Pledge as Alawa Crow) to help her.

Up until this point, the film has been very depressing, with a mostly silent Wright internalizing her character’s grief. A bear traps Edee in the outhouse and then enters the cabin’s open door and destroys most of her furnishings and supplies. It seems Edee even contemplates suicide. However, Miguel, with his dog, provides a sense of connection for Edee and he becomes her teacher and helper, showing her how to set animal traps and hunt wild game. He also agrees not to bring her any news of the outside world, although we soon learn he is dealing with his own unimaginable tragedy.

At one point, Edee asks Miguel why he is helping her. His simple reply is: “You were in my path.”

Their friendship is wonderfully developed and serves as a warm contrast to the harsh, yet beautiful, wilderness Edee has decamped to. The viewer is constantly reminded of the dangers the wilderness poses to fragile human life. The gorgeous settings, lensed by Bobby Bukowski, are often breathtaking. Filming took only a month, yet the story covers two years and eight different seasons. The details of both tragedies are only revealed in the last five minutes or so of action.

There are three brief extras: a look at crafting the film (5:07) – the cabin was built for the film; Wright’s directorial debut (3:50); she previously directed episodes of TV’s “House of Cards”; and the story and themes (3:19). Grade: film 3.25 stars; extras 1.5 stars

They Won’t Believe Me (1947, Warner Archive Collection, NR, 95 min.). Here, Robert Young (TV’s “Father Knows Best,” “Marcus Welby, M.D.”) plays against type as a married man, who contemplates running away with one woman and later starts an affair with a second. As Larry Ballentine (Young) readily admits, he is not a nice man and a bit of a cad, but he professes he did not kill his girlfriend Verna Carlson (Susan Hayward of “I’ll Cry Tomorrow,” “I Want to Live!”).

The story opens with Ballentine’s trial already in progress, with five witnesses having testified against him. Then defense attorney Cahill (Frank Ferguson of “Johnny Guitar,” “Abbott & Costello Meet Frankenstein,” TV’s “Peyton Place”) calls his only witness – Ballentine – who tells his story in linear fashion through four flashback segments.

Larry has been married for five years to Gretta (Rita Johnson of “Here Comes Mr. Jordan”), but it is an unhappy marriage, except that Gretta is rich. We see Larry meeting Janice Bell (Jane Greer of “Out of the Past,” “Sinbad, the Sailor”) at a bar for their 11th Saturday “lunch” to discuss specifications for a boat he wants to build. Until now, their meetings have been platonic, but Janice, a magazine writer, has met Gretta and she does not want to jeopardize their marriage, so she has asked to be transferred to Montreal, which leads Larry to say he wants their relationship to be more and he will leave Gretta and move to Montreal to be with her.

It turns out Gretta has known all about the lunch meetings and, as a counter, has bought a house across the country in California and had purchased Larry a 25 percent interest in a brokerage firm. So, Larry takes the train to California, with Gretta, instead of the train to Montreal. At his new job, however, assistant Verna Carlson comes on to him – even though his partner Trenton (Tom Powers of “Destination Moon,” “The Blue Dahlia”) has been trying to marry her – and they begin a torrid affair, or what passes for torrid in film in 1947.

Once again, Gretta is fed up with Larry’s ways and buys a remote ranch away from the city. Larry meekly goes along with the move, but secretly plots to have both Verna and Gretta’s money. What happens next, involving the deaths of the two women in his life, is what Larry is convinced the jury will not believe.

As directed by Irving Pichel (an actor, including narrator for “Destination Moon,” and director, including “The Most Dangerous Game”) and written by Jonathan Latimer (TV’s “Columbo”) and Gordon McDonell (“Shadow of a Doubt,” “Step Down to Terror”), the film is ingenious and just twisty enough, with solid acting. The only flaw is going for a shocker ending. There are no bonus features. Grade: film 3 stars

Bachelor in Paradise (1961, Warner Archive Collection, NR, 109 min.). This is not the 2014-current TV reality show, but rather a satire of new community suburban living starring Bob Hope as a writer who goes undercover to research his new book on current American suburban life. Arthur J. Niles (Hope of the “Road” pictures) needs to write this book because his accountant never filed any tax returns and he owes the IRS $628,470 and cannot leave the country. Niles has been living in Europe for 14 years, writing provocative best-sellers that offer worldly advice while documenting the lifestyles and love life of various cultures.

His new subject is the suburban San Fernando Valley conclave of Paradise Village, developed by Tom Jynson (Don Porter of “She-Wolf of London,” TV’s “Gidget”). Niles’ publisher (John McGiver of “The Manchurian Candidate” as Austin Palfrey) rents a house for Niles, but tells him to change his name. So, Niles becomes Jack Adams. The rental makes Niles the only bachelor living in the development. Well, the only male bachelor. The other is Rosemary Howard (Lana Turner of “Peyton Place,” “The Postman Always Rings Twice,” “Imitation of Life”), who works in the development’s sale office with Jynson. Niles has an instant attraction to Rosemary, but she forestalls him as she does with Jynson’s advances. It turns out Jynson is separated from his wife Dolores (Janis Paige of “Silk Stockings,” “Please Don’t Eat the Daisies”) and their imminent divorce settlement is holding up his next development project.

Hope as Adams is his usual wisecracking self as he is given a tour of his new home by Rosemary, not knowing that it is her house he is renting. The author makes a quick friend of neighbor Linda Delavane (Paula Prentiss of “Where the Boys Are,” “The Stepford Wives”), who uses Rosemary’s sink trash disposal. She is married to Larry Delavane (Jim Hutton of “Where the Boys Are,” “The Green Berets,” TV’s “Ellery Queen Mysteries”), who quickly becomes jealous of Niles.

The funny thing is that Niles, rather than seducing all the women in Paradise Village, instead hosts group sessions in which he gives them advice on improving their love life with their husbands, advice which horrifies some of the men. Only Dolores comes on to Niles and he resists.

Look for Agnes Morehead (TV’s “Bewitched”) as the judge in the divorce court proceedings. Highlight scenes involve too much soap in a washing machine and Rosemary showing some Hawaiian dance moves at a restaurant. The film was directed by Jack Arnold (“The Incredible Shrinking Man,” “Creature from the Black Lagoon,” TV’s “Gilligan’s Island”). The score is by Henry Mancini in his familiar light style. There is a title song, written by Mancini and lyricist Mack David, which was nominated for an Academy Award. Hope was nominated for a Golden Globe. There are no bonus features. Grade: film 3 stars

Man with a Camera: The Complete Series (1958-60, MPI, 2 DVDs, NR, 765 min.). This was the first and only TV series that starred Charles Bronson as the lead. He plays former World War II combat cameraman Mike Kovac, who operates as a freelance photographer in and around New York City. His assignments come from newspapers, magazines, insurance companies, the police and private individuals. He has a liaison with the police department in Lt. Donovan (James Flavin of “King Kong,” “Mighty Joe Young”) for eight of the 29, 26-minute episodes. Another regular in seven season one episodes is Ludwig Stossel as Mike’s father Anton, also a photographer.

Kovac employed the latest photographic technology to solve a case, including a Minox III mini-camera fastened to his belt, fisheye and telephoto lenses, and various other cutting-edge technologies, including a mini-camera in a lighter. He even converted the trunk of his car into a portable darkroom, where he could develop his negatives on the spot. The series allowed Bronson to be physical – in the opener, he boxes bare-chested and jumps out a window – while also have some humor, especially in scenes with Stossel.

Early cases involve helping a boxer (Tom Laughlin) who is being forced to throw a fight; being called to witness a murder to inadvertently help a protection racket run by Glenn Markey (Berry Kroeger), but the case puts Anton in danger; being hijacked by an egotistical bank robber (Tom Pittman as the “Crash Helmet Killer”) to photograph his crime spree; and having composites of his photos of a gubernatorial candidate (Logan Field) be used by a casino owner (Dennis Patrick) as blackmail. All four episodes are directed by Gerald Mayer (TV’s “Mission: Impossible,” “Mannix”), who helmed 11 episodes in all. Paul Landres (TV’s “Flipper,” “Daktari”) directed nine episodes.

The stories actually are quite good and the short format is refreshing. Other notable guest stars are Angie Dickinson, Yvonne Craig, King Calder, Harry Dean Stanton, Gavin Macleod, Sebastian Cabot, Bill Erwin and Grant Williams. The show was loosely based on the popular radio series “Casey, Crime Photographer,” starring Staats Cottsworth, and the earlier TV series “Crime Photographer,” starring Darren McGavin. There are no bonus features. Grade: series 3.25 stars