“Locked’s” reticence to hit hard with a meaningful message, unsympathetic characters, and thinly stretched thrills destine the movie for mediocrity.

“It Feeds” does just enough that’s different to become an example of how indie horror can be easily approachable without having to feel flat.

“Dead Mail” shows what indie filmmaking is supposed to look like when it’s done with passion as well as precision.

Conceptually compelling and exceptionally executed, “Shadow of God” is the most memorable possession movie since “The Exorcist.”

“825 Forest Road” is recommended for fans of movies made by indie artists who put sincere commitment into personal projects.

“The Rule of Jenny Pen” fires off frightful suggestions from a bevy of barrels pointed directly at anyone who has ever felt unnoticed and unheard.

I can't recommend "Curse of the Clown Motel,” but I can recommend a trip to the actual Clown Motel and its surrounding town of Tonopah, Nevada.

It’s moderately more watchable than “Popeye’s Revenge,” though that’s like saying being mauled by a bear is preferable to being mauled by a lion.

Samara Weaving earns top billing and the most minutes onscreen, but “Borderline” is really a greater showcase for Ray Nicholson.

The uneven experience ends up feeling so fleeting that I’m uncertain what needs to be said about the movie other than a head-tilting “eh.”

Once the slight shininess of “Bloat’s” “screenlife” sheen gets dulled, it’s even easier to see the movie as a rote possession yarn.

Dualities dominate “F Marry Kill,” though they cause confusing creative conflicts more often than they work in tandem to complement one another.

“Popeye’s Revenge” makes a strong case on behalf of corporate lawyers for why ordinary people shouldn’t be allowed within an inch of lucrative IP.