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.

It’s difficult to imagine what would be gained by watching “It Ends” more than once, much less repeatedly for a day and a half.

“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.

Viewers will see the plot’s pieces sitting in plain sight in the form of Chekhov’s remote cabin, Chekhov’s electronic necklace, even Chekhov’s vacuum cleaner.

The straightforward path isn't as creatively intriguing as a road where an edgier alternative might have taken the movie.

"Renfield" handles chaotic fight scenes and domestic drama with much more panache than it handles the hammy humor and formulaic plot points.

“Backrooms” brings out the buried dread of being unconsciously trapped in an oppressive environment that slowly melts a mind into compliant complacency.

All of the references to Mexican mythology or Spanish scares are organically incorporated and universally accessible to all audiences.

On top of outstanding acting and unnerving shocks, “Obsession” has attracted so much attention because of how universally resonant it can be.

Although it’s not the Hasbro horror movie some seem to think, “Hungry” gets in, gets out, and gets its job done.

“The Bride” is what an experimental film looks like when it’s crafted by longtime Hollywood professionals deciding to do something without a complete blueprint.

Emerging as average fodder for some streaming service’s black hole of common content, it’s generous to score “Deep Water” down the middle at 50/100.

An objective perspective not drunk on cult Kool-Aid will tell you it’s a tepid, two-hour trip into exhausting dreariness.

The good news for fans of 2021’s “Mortal Kombat” is the same as the bad news for anyone who didn’t care for that first film: “Mortal Kombat II” is more of the same.

Damian McCarthy’s third feature “Hokum” shows the filmmaker fine-tuning his personal formula for disturbing descents into darkness even further.