“Hallows’ Eve” fancies itself as a horror whodunit, but there is no redeeming quality in the production that would make anyone care about the outcome.

“Shiver” plays like a two-part episode of “Criminal Minds,” except with a largely forgettable unsub being chased by Casper Van Dien in place of Mandy Patinkin.

It may not be the definitive look at Romero’s legendary movie, but “Birth of the Living” is a documentary that knows the difference between artful reflection and pointless nostalgia.

As “Haunter” melts from one sub-genre to another, jump scares give way to eerie tension, which in turn pave the path for visceral shocks of terror.

While the merit of the payoff is up for debate, the fact remains that “Abducted” oozes with compelling takes on themes of kidnapping and medical experimentation fit snugly inside a smartly crafted production.

“Crystal Lake Memories” makes “His Name Was Jason” irrelevant and is critical to understanding the franchise’s timeline and enduring popularity.

Under different conditions, “His Name Was Jason” might be viewed in a more favorable light, but with “Crystal Lake Memories” available as a superior alternative, “His Name Was Jason” is obsolete.

Horror fans more interested in night creatures, bare fangs, and ravenous bloodletting best look elsewhere for vampire-themed frights.

“Gravity” is most effective on viewers prone to claustrophobia, thanks to numerous scenes of depleted oxygen, drowning waters, and threats of depressurization.

Who is to blame for “Unlucky Charms” being a pointless viewing experience?  The person who made it or the person who willingly watched a movie whose defining characteristic is a title that lampoons a breakfast cereal?

“The Black Dahlia Haunting” extends its total runtime by tacking on seven minutes worth of the slowest end credit crawl in movie history.

Even if "Escape from Tomorrow" does not have a real point or a purpose, it is still hypnotically engaging as experimental art and as oddball entertainment.

 “Friday the 13th: The Final Chapter” has stood the test of time for good reason ... If this is not “Friday the 13th” at its peak, it is certainly close to it.

“Nothing Left to Fear” dances around some creepy atmosphere until leaving the audience as high and as dry as drunk college kids in a graveyard expecting a visage of Lucifer to sear their eyeballs when nothing of the sort has any chance of ever being that exciting.

With a largely wordless script even before the mute invaders arrive on the scene, “Static” spends so much time taxiing on the runway before takeoff that is difficult to fully enjoy the flight once the story is finally in the air.  Even at just 75 minutes without credits, that sour taste in the mouth from the drawn out first act makes “Static” feel like a dragging experience in spite of the short running time.

“Curse of Chucky” is a satisfying chapter in the saga of a serial killer turned child’s toy that harkens back to the heyday of modern horror with a cool sheen of contemporary polish.

 “Bloody Homecoming” gives the familiar teenage slasher formula the old college try, but it is ultimately felled by an arrow of inexperience on both sides of the camera ... The execution takes the train off the tracks with a production that will never have a reason to be remembered or revisited once it drops out of the “New Release” listings.

Entrenched in its own formula, there is enough blood, enough brutality, enough comedy, and enough “Friday the 13th” to make “Part III” one of the most memorable installments, and the first real benchmark for everything that fans would come to expect from the series.

Raised expectations and inquiring minds will come face to face with the shortcomings of the movie’s longevity ... (Yet in) realizing it for its simple intentions and as the true birth of a universally recognized symbol of horror, “Part 2” successfully accomplishes what it sets out to do, much like Jason himself.

What is the worse fate for Mary Mallon? To have her name be forever synonymous with a fatal disease, or to be linked with a movie “inspired by true events,” but uninspired in everything else?