“Psycho Killer” is a generic copycat operating on autopilot from its opening titles all the way through to end credits.

“Dolly” never sets out to be more than a sleaze-soaked shocker in the first place. With that as its sole goal, the movie has merit.

It's reductive, yet not inaccurate, to describe the movie as two grown men excessively arguing in between bouts of wrestling with alien puppets.

It’s a low-risk, low-reward course in Horror 101, as taught by a student aide at a community college instead of by a tenured professor at a prestigious university.

“Scurry’s” experiment to disguise a bland B-movie as a one-take thriller bursts every flask in the lab, and there’s no buoy to save viewers from drowning in the drabness.

Even with deja vu ringing bells, it’s easy for a horror-minded head to get into the movie’s groove due to its no muss, no fuss efficiency.

It would be less hyperbolic to simply say “Whistle” is the most cliché-riddled thriller of 2025 and 2026 at a minimum.

While the 110-minute runtime could use a trim to maintain more energy, “Redux Redux” is an easy recommend for anyone who enjoys low-key sci-fi.

Too slow to ever reach a burn, “The Dreadful” doesn’t have many logs capable of catching fire in the first place, let alone a spark to ignite them.

“Return to Silent Hill” makes a messy movie out of confusingly cryptic plotting, excessive digitization, and an underpowered cast wearing bad wigs.

“We Bury the Dead” doesn’t have enough meat on its bones to land on a list of top ten zombie films for any of its three release years.

Although it takes forever to get there, invested audiences will still be hungry to chew on “The Housemaid’s” savory secret thanks to appealing performances.

Can an audience even tell if someone is a drifter if he doesn’t wrap fingerless gloves around a cup of coffee poured by a folksy waitress at a greasy spoon?

Watching an Adams Family film can be like watching Doctor Frankenstein furiously flitting about in his lab.