For a screenplay with three writers, it is odd that the story is so boilerplate.  The audience is consistently ahead of the characters onscreen and Samuel Morse himself could not do a better job of telegraphing all of the plot turns.

 “Visible Scars” is the horror movie equivalent of a precocious toddler indulging in a short attention span ...  Imagine a two-year-old bounding around a playroom, changing directions on a whim when the previous destination no longer holds interest.  “Visible Scars” bumbles about ... abandoning characters like action figures waiting to be stepped on, and forgetting plotlines when it runs out of ideas for what to do with them next.

“Crickley Hall” certainly qualifies as a ghost story, but not necessarily as a horror movie. A more fitting way to describe the three-hour adaptation of James Herbert’s novel would be as a drama with supernatural elements.

Should “Resolution” find the wide audience that it deserves, it has the potential to end friendships, doom marriages, and lead to fistfights in the parking lot after a screening.  That is a hyperbolic overstatement, but the fact remains that “Resolution” is a polarizing film.

Drawing parallels with the 2007 Japanese original helps articulate the problems of the 2012 American remake.

“Lords of Salem” lives and dies by its distinctly Rob Zombie imagery. Up for debate is whether that imagery exists in service to the story or simply to be deliberately shocking.

If “The Ring” and “The Grudge” have given you your fill of revenge-fueled Asian poltergeists, “Apartment 1303” will not do anything to reignite an interest in the subgenre.

The poster art is not kidding with its two-word tagline, “enough said!” That is actually one word more than is even necessary, as the one-word title alone already says it all: "Sharknado."

The movie’s aim is to frighten through the mind and not through the eyes.  The method will not work on everyone, but those whose patience allows them to be drawn into the setting will find “Jug Face” to be both thoughtful and chilling.

“Found footage” is exchanged for a traditional narrative.  Cotton passes the torch to Nell.  Practical FX make way for the digital variety.  In an effort to create its own identity, “The Last Exorcism Part II” shelves everything that made the original uniquely entertaining and ends up being a movie that falls short of the first film’s bar.

Desperate to create a sense of suspense artificially, frantic music swells and the camera continually spins dizzily around the actors as they mutter, “c’mon” at a computer screen.  But really, scenes of enhancing pixels in a digital image and listening to a detective shout, “stop, go back” come with a very limited capacity for excitement.

“The Butterfly Room” is a covered boil thriller that crawls under the skin slowly and infects all the way up to the psyche.

This is a movie in love with its own sense of style and it makes no apologies for that fact ... But for an art house interpretation of vampiric bloodlust, “Kiss of the Damned” can be as seductive as its subject matter. 

In a world without Sam Raimi’s “Evil Dead,” it would be difficult to imagine the remake standing the same test of time as the original.

I imagine that a years long journey through the empty blackness of space with the same handful of people in a module no bigger than a studio apartment might be a rather dull experience.

If there is such a thing as a “tasteful” way to do torture horror, then “Would You Rather” is it ... Brittany Snow may be first billed, but Jeffrey Combs is the star of the show.

The horror at the film’s heart is a fusion of possible Yeti attacks, wormholes, teleportation, fanged creatures, extraterrestrial mythology, and enough ancillary ideas to power an entire season of “The X-Files.”  ... The first person perspective in the fast paced finale creates the look and feel of being on a Universal Studios dark ride, complete with creature effects straight out of “The Mummy.” 

 “Entity” asks the question, what if a “found footage” paranormal investigation story was presented as more of a traditional film narrative instead of strictly as “found footage?”  The answer is, it would still be two acts worth of people walking around an abandoned building followed by a predictable finale...

There also happens to be a Hero Zero.  He is the only man out of six billion on the planet capable of saving the human race.  That man: Brad Pitt.

 ... The title is almost misleading as to what “The Jeffrey Dahmer Files” truly offers.  The audience will not walk away with bullet point factoids or increased knowledge about the killer, but they will walk away with perspective on the Everyman personalities affected by the aftermath of his crimes.