“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.
I get that “Dude Bro” is half of the movie’s title, but the unendingly obnoxious macho growling and bizarre habit nearly everyone has of yelling dialogue overplays the “brah” angle into utter irritation.
“21 Days” cribs the crux of its content from “Paranormal Activity” and “The Blair Witch Project,” with a healthy portion of “The Amityville Horror” filling in the backstory for good measure.
There isn’t enough substance for those fascinated by the sleep paralysis phenomenon to engage with an interest level running any hotter than barely mild.
Each existing reason to be frustrated with how “Sun Choke” gradually burrows beneath the skin through ambiguity is also a reason to be fascinated by its unconventional style.
“Some Kind of Hate” has its sights set on mood and meaning over empty scare tactics, setting it apart in the subgenre as a more mature supernatural teen slasher.
This second sequel is less about being conceptually disturbing and more about being some weirdo hybrid of “Oz” meets “Garbage Pail Kids” for visceral value alone.
“H.R. Giger’s World” ends up fitting as an apt subtitle since “Dark Star” focuses less on the man and more on the motivations molding his body of work.
“Shrew’s Nest” runs full speed at an exhilarating sprint once the tempo turns a corner, justifying the journey to get there as being worth the wait.
“The Nightmare” capitalizes so well on its mood of escalating tension ... that a waxing and waning interest level in the subjects and their stories has no choice but to sit in the second chair.
The film boils down to being straightforward practically to a fault, which should please anyone eager for a simple serving of traditional creature feature creeps.