Few fans would argue for it as the greatest installment in the series, although its impact on the genre is undeniable. And for that one reason alone, “Friday the 13th” will always remain a classic.

After bearing witness to the dull mystery, the duller characters, and the uninspired production, it becomes clear that audiences would have been better off had “Aberration” stayed on the shelf in unreleased limbo.

As a “Chad A. Verdi film” neither written nor directed by Chad A. Verdi, “Self Storage” is a mild improvement over “Infected,” another “Chad A. Verdi film” released in 2013 that was neither written nor directed by Mr. Verdi ... “Self Storage” is not so much bad as it is just bland and unremarkable.

The insulting lack of anything substantial to offer in either the fright or the originality departments has the viewer wishing to be ghost-grabbed on the ankle, just to finally experience a thrill.

“Simon Killer” is in actuality a stark drama about dark characters that break down people in ways involving intangible weapons and alternative methods of personal destruction.  Which too often are far more effective means of accomplishing manipulative devastation.

More drama exists in the creation of Asylum Haunted Scream Park than in a week’s worth of “The Young and the Restless.” And “Monsters Wanted” is there to capture it all for the record.

Viewers unappreciative of the home video era and its influence on the world may pass off the movie as merely a nostalgic trip down Memory Lane.  But in between those superfluous moments, “Rewind This” offers intelligent perspectives not just on how VHS changed entertainment, but about how it permanently altered human behavior in truly meaningful ways.

“Phobia” bears the made-for-TV aroma of a movie that would fit nicely as the lead-in to a Craigslist killer dramatization on syndicated basic cable.  Not entirely a horror film per se, “Phobia” is more of a romance and psychological drama that also includes a possible vampire in its plotline.

Questionable casting and careless continuity hint at a set where the filmmakers simply shrugged their shoulders while the camera rolled.

Telling someone to “slink” away from this movie would not only be a bad pun, it would also be understating how much distance should exist between human eyeballs and “Slink.”

Even if it is the redheaded stepbrother of “Evil Dead,” “Wither” should still be welcomed as part of the family and it therefore deserves at least a small place at the dining room table.  Or maybe just a seat at the folding card table off to the side reserved for the less mature party guests.

The successes that “Among Friends” does have can be attributed to Danielle Harris’ able directing, but the film is inherently limited by its core idea.  “Among Friends” is already late to its own party anyway, as “Would You Rather” offers far more satisfying squirms when it comes to airing dirty laundry at a dinner that turns into a torture game.

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.