“Nobody Gets Out Alive” does not feel like it is honoring classic slashers as much as it feels like it is adding to their diminished reputation.

It is inspiring to see the Slender Man fan community band together for the project, and that passion transfers into the worthwhile intentions of the filmmakers, but the final film has a bundle of issues that regrettably earn it a thumbs down.

Without a concrete hero or a concrete villain, there is no satisfaction in seeing anything in particular take place. There can be no suspense when there is no investment in any specific outcome.

With any luck, “Infected” will make the list of worst movies when the year comes to an end.  Because the thought that 10 worse movies await that could displace this one is truly depressing.

“Crush” is disappointing, but not for lack of trying. While well staged, well cast, and well photographed, it is entirely unbelievable.

There are worse low-budget amateur horror films out there, but that is neither an endorsement nor a compliment.

 “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.