There are still those of us carrying candles for fondly regarded shows such as “War of the Worlds” or “Psi-Factor” who cannot help but be swayed by the syndicated sci-fi style.
Be sure to brace expectations for a werewolf western that has more of the latter than it does of the former.
“Poltergeist Activity” is the cinema equivalent of ramen noodles ... Once the cup goes in the trash, so does all memory of the meal.
If none of the notable Star Trek personalities participated in this project, and everything else remained as is, how much enthusiasm would there be for “Star Trek: Of Gods and Men?”
The challenge “Harbinger Down” has in front of it is coming up with a concept for a story that matches the concept for the creatures and the charisma of the cast.
There is simple charm in the straightforward story and retro horror appeal that makes “The Funhouse” the gold standard granddaddy of killer carnival thrillers.
In the face of superior backwards-unfolding suspense yarns, you may not remember ("Amnesiac"), which poetically befits a film about missing pieces of memory.
It is the equivalent of filmic escargot in that it moves with the urgency of a you-know-what, yet is flavored as a delicacy for palates seasoned to its patient cinematic style.
It sandwiches in so much of the same recycled UFO-related references and fiction that the story mirrors the first-person format as being boringly outdated.
Forced to choose amongst any of Blumhouse’s other teen-targeted thrillers like “Ouija” or “Unfriended,” “The Gallows” has marginally more to offer as a paranormal activity chiller.
Take ... an assembly line attitude towards crafting a low-level motion picture, and the result is a movie so flavorless, it cannot even be described as vanilla.
“The Redwood Massacre” is one of those disposable movies where some short time after the fact, you’ll be unable to recall if you actually saw it or not.
... a snickering good time for Lovecraft fans who won’t find sacrilege in seeing the grandmaster’s literary oeuvre repurposed for salaciously sex-oriented horror hijinks.
“The Death of Superman Lives: What Happened?” remains a cornucopia of “what if” scenarios certain to tickle a touchstone of nostalgia for 90s superhero cinema.
Despite borrowing part and parcel from an overly familiar “found footage” formula, “Always Watching” deviates from tried-and-true patterns in ways that are not for the better.
Director Eytan Rockaway sticks to a template of tried-and-true tactics to make a competently crafted slow-creep chiller, albeit one that would benefit from a more original edge.
“Caught” is what a Lifetime thriller would look like if a tranquil John Waters tried turning the network’s brand of suburban suspense into an almost R-rated black comedy.