“13 Eerie” springboards off an interesting premise that could have made for a unique zombie film.  Instead, it turns that premise into an excuse to put college kids and reanimated corpses in a setting for routine undead fare.

While “Lost Coast” maintains intrigue despite riding on two wheels around a few bends, that intrigue does not translate into authentic terror.

Between “Reel Evil” and “616: Paranormal Incident,” if you see only one “found footage” haunted asylum movie shot in Linda Vista Hospital, make it neither.

There are rough edges and some predictability, but “Curandero” still makes for an interesting entry in the realm of exorcist-centric films.  If nothing else, its mark is made by the Spanish-specific elements.

“The Frankenstein Theory” takes an original premise and douses it in an unoriginal presentation. Which is not to say that the mockumentary does not do it well.

“John Dies at the End” is such a psychotropic joyride through horrifyingly imaginative ideas about time, space, and multidimensional alien takeovers that describing it in the limited terms available on this Earth does it a disservice.

What is there to say about “Halloween” that has not already been said? Nothing, really. It can be discussed in terms as lean as the production. “Halloween” in one word: perfect.

There are leaks in the dam, but solid acting and an interesting premise carry the suspense through to the end.  And although the foundation may be familiar, where the story goes is not quite as predictable.

Telling the first act of its tale through flashbacks fits “Kiss the Abyss” well.  Because if the story moved any slower, it would have been going backwards.

 “A Resurrection” has difficulty finding its footing in the Suspense, Thriller, or Horror genres.  Rather than concentrate on fitting well into one of those categories, the movie settles for being lackluster in all three concurrently.

 “Knock Knock 2” has an interesting premise that in theory should have pushed it over the expected first and second act lulls of a “found footage” movie.  Yet it ends up drawing out the inaction even more than its dullest competitors.

 “Timecrimes” belongs in that category of film where knowing as little as possible beforehand is in the best interest of complete immersion.  Know only that “Timecrimes” is highly entertaining and well worth the investment.

What “The Last Exorcism” creates is a film that satisfies not only as “found footage,” but also plays as one of the better exorcism/possession films not directed by William Friedkin.

“Shadow People” has the germ of an interesting idea at its core.  An idea that might even make for a compelling horror film.  Sadly, this movie is not it.

“Dark Feed” is what a “found footage” film might be like if the creators changed their mind before shooting and turned the script into a traditional movie.

... half a million dollars and over 100 people were used to make a movie with three principal actors, two lights, and one handheld video camera.  Reconciling the two sides of that equals sign would give Fibonacci a migraine.

All of that careful maneuvering unspools after tripping a claymore and limping wounded through the remainder of its back half.

“Grave Encounters 2” will not convert any new admirers out of those who shrugged their shoulders at its predecessor.  Meanwhile, “Grave Encounters” fans will see the new directions the sequel explores while retaining its own signature style.

“Grave Encounters” is frighteningly entertaining (and) satisfies in a way that many films in this “found footage” sub-genre only fail to imitate.

If ("Storage 24") is merely meant to be a mildly entertaining diversion while changing late night TV channels, then well done.  But if people are expected to go out of their way to rent or buy a movie whose best promotional quote is that it is “competent,” then that is a problem.