More interested in creeping chills than gotcha boos, "From the Dark" never lets scaled-down production design stand in the way of crafty camerawork making the most of unsettling atmosphere.
With “Roadside,” it doesn’t appear as though writer/director Eric England has anything more in mind than to aim for mediocrity and barely hit the bullseye with a plop.
... what they record results in a head-on collision of the “found footage” and demonic child subgenres, leaving “Infernal” to beat two dead horror horses with one limp stick.
“The Final Girls” doesn’t just point out tropes with a wink ... it plants well-worn chestnuts into clever setups before seeing them through to funny, original punchlines.
"Pod" is a dish best served cold, with limited foreknowledge and without expectation for anything more robust than a lean, mean blend of paranoid thriller and what’s-behind-the-door suspense.
“Unfriended” ranks alongside “Ouija” in terms of being entirely forgettable, yet nonetheless in possession of mass appeal for an undemanding set whose ages begin with the number one.
As a love letter to everything gruesome, gleeful, and glorious about 1980s genre movies and popular culture, “Turbo Kid” is engineered specifically for maximum midnight movie madness.
“Excess Flesh” takes on a hypnotic tone capable of capturing those sensitive to its messages about a perilous sense of self and the feverish pursuit of unhealthy ideals.
Funny without being straightly comic and nightmarish without being strictly frightening, “Ava’s Possessions” nevertheless brands its black magic mark using curious characters, vibrant visuals, and smartly stylish storytelling.
“Zombieworld” is a “Creepshow 3” caliber anthology whose pieces have no relation to one another aside from the inclusion of shambling corpses and a near complete absence of frights, fun, and quality.
“The Intruders” boils down to another log for the pile of formulaic thrillers better suited as midweek made-for-cable filler.
Eclectic and occasionally eccentric, the overall vibe is more of a drunk stumble between serious and comical without threading a needle through a sweet spot that would effectively blend both moods.
Purposefully light on rational relevance, “Wyrmwood” strips out the social commentary of Romero’s oeuvre and the dark despair of “The Walking Dead” in favor of flair, flash, and cinematic style.
It’s a catch-22 approach shooting the entire affair in its foot, heart, and head with a script and a style too simple to provide any more edge than that of plastic tableware.
The film’s crowning achievement is releasing just two weeks into January and already becoming the candidate to beat as worst movie of the year.
“Alien Outpost” ticks plenty of boxes for bullet-pumping action with a satisfying shot of sci-fi tracer fire laser-lighting the screen.
... the film remains ball-and-chained to a delivery format that hamstrings the rhythm and to fiction impenetrable for anyone who hasn’t already invested three hours into “Haunting Melissa."
Good-natured, good-humored, and well-intentioned, “Wolfcop” still spins its wheels by pumping blood leisurely when it rightfully screams to gush straight out of the vein.
You wouldn’t tolerate “Haunting Melissa” as a three-hour movie in a traditional format. Why tolerate it as a buggy app requiring countless mobile device restarts and popup prompt dismissals?