If The CW ever partnered with The Asylum to produce a made-for-TV disaster flick, it would probably look a lot like “Skybound.”
An inelegant way to reductively encapsulate the sentiments above would be to simply say, “The Untamed” is “weird.”
Right away we are swept into a sci-fi Saturday night setting that packs “Outer Limits” intrigue into a “Twilight Zone” mystery.
While that would be cruelly inhumane for the animal, it would be more entertaining to watch than this movie, which is cruelly inhumane against viewers.
As a satisfying spin down a straightaway, “Curvature” keeps enough gas in its tank to be moderately enjoyable in the moment.
I found myself won over by the flick’s surprising surplus of heartfelt charm and astonishingly sharp style for a low-budget indie.
"The Babysitter” earns her rate for a full evening of satisfying work, even if you’d think twice about recommending her to friends.
For the PG-13 thriller with straightforward style that it is, “Like.Share.Follow” knows how to sharply stick to a tried-and-true plan.
This classic case of mediocre moviemaking with a TV thriller temperature puts the ‘l’ and the ‘n’ in ‘bad’ for a film more bland than outright awful.
It couldn’t be more fitting for such a wonderfully weird story to be creatively captured within such a wonderfully weird movie.
When “Creep 2” finally figures out which branch is best to follow, a blinding “aha!” bulb course corrects the film for a far sharper second half.
This gorgeously haunting presentation hopelessly defeats itself fighting an unwinnable war to find a suspenseful story worth telling.
“To Hell and Back” celebrates the monsters and maniacs that made Kane Hodder famous while stripping off the makeup and masks for an intimate profile of the man underneath.
While a patient pace taxes the tank for more gas than the film carries, “1922” hit a higher rung than most on the ladder of Stephen King adaptations.
The movie makes its mark by taking two memorable turns, giving its take on the “what’s really going on?” premise a sharper bite than most.
Think of “It Comes at Night” in terms of atmosphere, except with actual infected attackers haunting the hallways as if they sprinted in from “28 Days Later.”
Not since Jennifer Kent’s “The Babadook” has a filmmaker so creatively captured both the magic and the misery of childhood fears and fantasy.
A basic, by-the-numbers retread of Amityville tropes and classic chiller clichés in milquetoast movie form.
“Dead Ant” delivers a certain amount of fun, just not the whole kit ‘n kaboodle of craziness promised by its premise.
Polished or not, the movie is so lifelessly sloppy, it looks like a rough cut of a half-speed rehearsal.