“Crawlers” doesn’t have the biggest bite by any means, but at least you’ll feel it on your arm before the sting has a chance to completely fade away.

There’s enough to warrant sticking it out to the end, while those with different tastes might be more eager to follow Zach Cregger’s example.

This is Wingard and Barrett letting loose with squibs, stunts, and gnarliness like they did in their indie days.

The end credits song lands one last thud to reinforces the impression of a film that wants to be badass when it’s really just a loud lump of noise.

With fewer thrills and a setup that’s harder to swallow a second time, “Fall 2: Deadpoint” might be a case of draining the well dry.

Too bad its oddness can’t overcome overwhelming dullness, making for a “found footage” fizzle likely to be lost and never looked for again.

Without any interesting arcs, side plots, or even a main plot to go along with the gore, “Ice Cream Man” devolves into a lot of meaningless mayhem.

“Saccharine’s” four-door sedan limits it to surface streets of suspense while more impressive sportscars race by on horror’s highway.

“Big Baby” wears its low budget on both sleeves, with one of those arms being details that constantly scream, “You’re watching a movie.”

“Pinocchio: Unstrung” brings the TCU closer to capturing the nostalgic naughtiness that paved the way for this type of toony terror in the first place.

Each recycled element of “The Whisper Man” is another flammable piece of kindling for the endlessly burning fire of flavorless Netflix filler thrillers.

Going in blind makes for an amusingly unusual experience, because it’s oddly challenging to get an accurate read on “Lockbox.”

Good thing “Bury the Devil” has that little hook of being a one-take movie, although the tip isn’t sharp enough to pierce all the way through.

“Hellcat” can be described as a confined chamber thriller whose quality acting and strong suspense put a lot of gas in the tank despite a small cast and low budget.

If your favorite part of “The Martian” was watching Matt Damon grow a potato, “The Last House” will please you with plenty more montages of indoor farming.

Three out of four stars is a solid score for the high mark “Evil Dead Burn” hits on the gruesomeness strength-o-meter hammered with all the movie’s might.