Poorly written and poorly produced, “Reality Terror Night” is guaranteed to be forgotten as soon as… what was I talking about?

“Paranormal Activity 2: Tokyo Night” transcends cultural boundaries by proving concepts like cash-ins, clichés, and slow-paced boredom mean the same thing in any language.

“Paranormal Activity 4” is the film franchise equivalent of a “Greatest Hits” compilation of things that were good enough in the past with the hope that fans will eat up the regurgitation.

The best course of action with “Battle of the Damned” is to dumb it down for 90 minutes and simply revel in a 21st century version of a 20th century formula action romp.

Focusing too intently on the “Nancy” and not enough on the “I,” the documentary glues itself in place with appeal limited to “Nightmare on Elm Street” diehards only.

The drawback is that this depiction is so insular that not pouncing on the chance to exploit broader contagion fears becomes a missed opportunity.

Whether a finger is pointed at the era, the idea, the script, or the network for giving the film a baffling personality, “Bates Motel” is an anomalous oddity in the “Psycho” franchise.

Forget about not knowing how to make a movie. “Demon” looks as if it were made by people who have never even seen a movie.

By the third time, the effort and enthusiasm can still be appreciated, but knowing where all the scares are takes away from authentic thrills.

“We Are What We Are” looks great, sounds great, and is thick with mood that other efforts can only dream of accomplishing.  It is also stretched out, takes its time catching fire, and lacks the hearty meat that makes genre audiences respond.

If “Dead Weight” were a movie made by your friends, you could tell them that they did a great job and it would not be a lie.  But that is exactly what “Dead Weight” comes across as: a movie made by a group of your friends.

Aside from its franchise association, there is nothing in “Paranormal Activity 2” that is not readily available in dozens of similar, and better, entries in the same sub-genre.

The best advice is to pocket conventional expectations and take the film with the same “let’s just see what happens” approach that the Rambler has.  “The Rambler” would not be the strangely appealing movie it is if it were presented as any less off the wall.

If one-tenth of the effort put into trumping up the film’s IMDB page was put into the acting, script, cinematography, or anything else about the movie, “Paranormal Apparition” might have been worth watching.

“Paranormal Activity” has to be admired for straightforward storytelling, a well-crafted structure, and relatable horror with an inarguable ability to captivate conventional audiences.

Those who only want a stark horror film rooted in reality that engraves nightmarish imagery in the mind's eye will find that “Megan Is Missing” can accommodate in spades.

Flawed, imperfect, and at times irritating, “Skew” is a movie that gives more thought than most to its narrative, even if the cohesiveness can be considered tenuous.

“The Paranormal Diaries: Clophill” favors pseudo-documentary over purely fictional horror entertainment to present what a real-life ghost chase would actually be like: frightfully boring.

“Fear Lives Here” ping pongs between “okay I guess” and connect-the-dots conventions while depicting an exceptional example of what makes a horror movie mediocre.  The overall film may not completely sink to the bottom, but it certainly does not rise to the top, either.

The problem for "The Upper Footage" is that it has no chance to thrill as suspense or to engage as a character study because its characters are thoroughly obnoxious by design.