It would seem that (the frustration of real-life Amityville residents) is at least partially misdirected.  Hollywood, and in this case the United Kingdom, has done far more to irreparably tarnish the name of Amityville than George Lutz would have ever dreamed possible.

There is no nobler of an intention on display here than to fill the screen with breasts and beasts as a sleazy appeal to the stoner set of easily amused horror moviegoers.

 “A Night in the Woods” has something that most other “found footage” thrillers do not have with its fully developed characters and strongly defined relationships.  What it is missing is an original or frightening story that would put these personalities towards a good use.

Strong acting, canny production design, and a sound premise power “The Facility” all the way through to its climax, only to discover that the engine lacks enough coal to complete a full circuit.  Whether depleted of financial resources, creative ideas, or both, writer/director Ian Clark’s first time feature fizzles to a sudden halt that leaves an impression of “The Facility” being only half a film.

I can accept that these crewmembers are not amongst Earth’s most elite military and scientific minds. Harder to swallow are the consistently boneheaded choices everyone makes simply so that there can be a story.

("The Frozen Ground") has difficulty choosing from a portrayal of police bureaucracy impeding the capture of a criminal, Nicolas Cage as a torn family man, the redemption of a young hooker, and the tale of a killer.  The head-on crash of all four together makes for an average thriller elevated by its performances, but sunk by a misdirected screenplay.

 “Vampire” is an indie drama that revels in gloom while thoughtfully exploring suicide, loss, desperation, and depression ... Corpses, coffins, and pointed teeth may not play a role, but for some, the real themes of “Vampire” are more frightening than any Transylvanian monster story could ever be.

Do not attempt to learn more about the story beforehand.  Do not try to move too far ahead of the characters.  Allow “Separation” to weave its narrative and then marvel at the mood it creates by the end.

Luckily for “100 Bloody Acres,” its heart is in the right place as a goofy splatterfest and the cast is having enough fun with the setup that it takes an effort to resist enjoying it right along with them.

“An American Ghost Story” is a stale slice of horror browned in an oven of amateur filmmaking with the vain hope that no one will know the difference.

 “Ritual” has its work cut out for it when it comes to engaging the impatient.  And while the answer to the question burning at the movie’s core may not be mind-blowing or earth shaking, it does fulfill the promise made by the premise in a way that makes the mouth of a slightly fiendish mind twist into a wicked smirk.

“The Descent” can sleep easy knowing that its title is safe as the reigning champion of spelunking horror. Although the literally titled “Abandoned Mine” makes a suitable PG-13 alternative.

The result is exactly what one would expect from a movie made by at least three different directors working from two different scripts between 2010 and 2013.  Resurrected like a Haitian zombie, “Dolls of Voodoo” stumbles aimlessly in a confused daze somewhere between alive and undead.

 “5 Souls” features a duo of parallel storylines that takes so long to finally intersect that it feels like watching two completely different movies simultaneously.  Any bewilderment that besets the audience is an extension of a confused script that chooses seemingly arbitrary moments to randomly leapfrog between the two tales.

Any time the opening notes of “Goodbye Horses” start playing, you just know there is about to be inescapable terror.

Effective depictions of “body horror” create the palpable sense that the science of humanity is an unavoidable curse ... A subconscious desire develops to shed the trappings of flesh as a prison for sickness, disease, and pain.  It is this fear of biology being frighteningly uncomfortable that is regrettably missing from “Errors of the Human Body.”

 “Absence” plants the seeds of taking “found footage” in potentially new and interesting directions before leaving that garden completely untended.  The film settles for tilling from the same stony soil that has already been harvested dry by better constructed and more entertaining stabs at the genre.

Writer/director Christopher MacBride’s thriller may use the “found footage” template as a launch pad, but his subject matter is a far different cry from the usual trappings of an exorcism or a haunted asylum.

Remember that classic “Saturday Night Live” sketch “Theodoric of York?” ... “Bad Milo” is that joke visualized as a full horror comedy feature, except that the small dwarf is now a demon and the stomach has been swapped for a colon.

("Gallowwalkers") is crushed under a script that generates unintended laughs when it is not busy bringing fingernails to the scalp with a confusing story and a nonsensical plot structure.