To paraphrase (Albert Einstein), continually watching films from (The Asylum) and expecting one of them to break the mold of downright awful to mediocre at best is about as insane as it gets ... “13/13/13” is not just bad, it is bizarrely bad.

 “Killer Holiday” may look more professionally polished than most independent horror movies, but it is ultimately another uninteresting slasher with as dead of a pulse as its less technically accomplished competition.

The real mystery though, is who is this movie for? The disparate tones that seesaw back and forth target half of the movie for one audience, and leave the other half for another.

“Red Clover” is as good as any other monster movie on SyFy and it is certainly no worse than any of the entries in that “other” series of films about killer creatures from the Emerald Isle.

There is more red plasma to be found within the 95 minutes of “Macabre” than there is stocked inside an entire fleet of American Red Cross mobile blood banks.

... Its plot ends up being no different than any of those overused haunted asylum investigations, except “Skinwalker Ranch” takes place on 1,000 acres of farmland instead of inside an abandoned mental hospital.

“Look What’s Happened to Rosemary’s Baby” is not a hidden gem, but it is an entertaining curiosity in an “I can’t believe they actually made this” kind of way.

“All Hallows’ Eve” is not the type of middling distraction that one regrets spending time with, but it is the sort of experience that leaves the viewer with a stomach rumbling for something more satisfying.

 “After Effect” has some notable performances, a creepily effective musical score, and good production value on a small budget.  Unfortunately, it also has limited tension, erratic pacing, and an unsatisfying payoff that keep it from shining as a solid example of body horror or zombie suspense.

I cannot fathom a scenario where any viewer would consider investing even one minute in “4 Dead Girls” as time well spent.

Somewhere between “The Cabal Cut” and the theatrical version exists an edition of the film that excels even further.  The filmmakers just need their Narcisse to provide final directions on how to get there.

Not without redeemable charms, “Nightbreed” is far too bloated by its own ambition to have ever had a chance of succeeding with compromised creativity or with an abbreviated runtime.

“Amy” is the kind of bad produced by misguided filmmakers that just do not know any better. And sadly, the only emotion “Amy” evokes from the audience is head shaking sympathy for everyone involved.

Although four of the five segments have noticeable flaws that lead to underwhelming moments, there are enough interesting story ideas and creative choices on hand to make the package enjoyable.

“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.