“Hazmat” takes a premise and confuses it for a full story. What passes for a plot is little more than a thin justification for 80 minutes of mediocre mayhem.

More than an exhaustive index of how a popular horror series earned its seminal status, “Never Sleep Again” is a near perfect documentary that is endlessly fascinating on multiple levels.

Out of gas before the engine turns over, “Army of the Damned” takes as much time to develop as the Grand Canyon and includes holes just as deep.

Being generous, “Zombex” is a mediocre at best zombie film featuring notable genre faves as its only draw.  If not for that detail alone, no one would care that “Zombex” existed.

Some may interpret various manners of symbolism aside from the obvious ones regarding female genitalia.  The rest of us see empty style choices overcompensating for the lack of narrative substance.

“Murder Eleven” stumbles into a state of false cleverness mixed with rote personalities, preventing it from having any chance at evolving into a focused thriller.

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.