“+1” presents a fearless approach to storytelling ... the overall effect is one of a movie that has a unique take on venerable sci-fi ideas about reliving the past and meeting one’s clone.

“I Am ZoZo” is a too tame horror story that develops an occasionally eerie atmosphere, but it never delivers a solid jab, much less a knockout punch.

Everything in the first act that asks for attention ends up not mattering in a storyline that only leads to routine suspense fare any number of films have already done better.

The zombie genre is too saturated to take notice of a few animated muzzle flashes and some digital blood spray in service of an underachieving tale about three battle-hardened Army men and their dull autobiographer.

If not for the "twist" given away by the poster, "Mother" would play perfectly as one of those educational films masquerading as entertainment that teachers force bored students to suffer through.

"The Seasoning House" does not reinvent the revenge thriller, but it encapsulates all of the elements and feelings ... that give the sub-genre such power to leave a lasting impression on the mind.

All three shorts stroll leisurely through their storylines with a stride buoyed by a rich roster of supporting players, but pulled under by excessive padding weighing down the energy.

Unless the goal was for the audience to feel the same confused abandonment as a troubled orphan, "Dark Touch" misses as a psychological thriller with its slow to gel purpose and a lead character that is just not compelling.

"Cassadaga" delivers a memorable murderer, a captivating heroine, and enough ghost-charged atmosphere to recommend it as both supernatural suspense and as a serial killer thriller.

For all its attempts at an unconventional editing style, “The Secret Village” is a fairly conventional story that ultimately collapses from a disjointed delivery and a disappointing resolution.

Decent performances fight off narcolepsy in places, but “Mischief Night” has nothing original to say, and no new ways to say it.

“Butcher Boys” mirrors so much of "Texas Chainsaw Massacre" that it can be considered a contemporary retelling of the same story updated for a new generation.

("The Bell Witch Haunting") stays mostly true to the particulars of the legend, but disregards respect for the audience with an overreliance on convention and a lackadaisical approach to detail.  Formulaic in every way, this is more grist for the mill for anyone who wants to shake his/her head and yawn at the “found footage” sub-genre.

What ("Amnesiac") cannot do is inspire an audience to invest in stakes confined to one room and five people in a story that builds intrigue with all the intensity of a slow dripping leaky faucet.

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.