In spite of regular doses of comical levity, this is a film that delivers tense terror in brutal bites with all the subtlety of a suddenly deployed airbag.

“Hemorrhage” is the rarest form of little-known feature from a first-time director squeezing every drop of sweat from a small group.  It is actually worth seeing.

More than anything, “Toad Road” is a dark drug addiction drama that plays better as an instructional video on how to pointlessly throw away your twenties.

More absurd is the idea that Argento and his producers seriously believed this low level of effort was passable. And that notion is the film’s ultimate offense as well as its greatest disappointment.

“Dracula Reborn” ... brings along the outdated pacing and dry drama for a version of the too familiar tale that has a 21st century setting, but 19th century storytelling.

“Banshee Chapter” ... would have been a better fit for 1998, when “The X-Files” was at its small screen peak and the film adaptation of “Fear and Loathing in Las Vegas” reintroduced Hunter S. Thompson as the patron saint of psychotropic counterculture.

“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” has such dull edges that its primary allure is as 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.